Watching this film was an unusual experience. At times it felt like a character-driven drama and at other times a high quality genre film. It wasn’t until later that I realised that I’d seen the previous film by director Eric Lartigau, an interesting twist on the romcom Prête-moi ta main (France 2006) titled I Do in English. I enjoyed that film and I think I enjoyed The Big Picture – certainly I was engrossed by it and was surprised when the ending came.
It is difficult to outline the plot without spoilers, but I’ll try. The English title isn’t immediately helpful. The French title translates as something like the ‘The Man Who Wanted to Live His Own Life’ and this is more useful. Paul Exbon (Romain Duris) is a highly successful lawyer running a top practice in Paris with his older partner Anne (Catherine Deneuve). He has wealth, an attractive wife and two small children who he adores – but all is not well at home or in his head. Then a series of events overturns his comfortable world. The only way out seems to be to flee France for the Adriatic and to adopt a new identity. The ‘instigator’ of all this trouble is a man Paul detests, an unsuccessful professional photographer who taunts Paul because the lawyer only takes photographs as a hobby – he doesn’t have the guts to go out and try it as a living even though he has the talent to do so. So when Paul flees he attempts to become a ‘real’ photographer. But his talent shines through and when journals and galleries start to take an interest he knows his identity will be uncovered – thus the English title, I guess. (The photographs used in the film were taken by various Magnum photographers I think.)
The main factor that attracted me to the film was the presence of Romain Duris in the lead and as usual he gives a great performance, more than justifying his billing. I don’t really understand how he does it. This time he is in curly hair, stubble and generally dishevelled chic mode – but still with the Cuban heels. Why is that chipmunk-like face with its cheesy grin so manipulative? I don’t know, but Duris is a natural talent and you can’t really keep your eyes off him.
The film is an adaptation of a novel by Douglas Kennedy. He appears to be an American writer domiciled mainly in Europe where his reputation is high in France. His 2007 The Woman in the Fifth has also been adapted as a thriller, this time by Pawel Pawlikowski with Kristin Scott-Thomas and Ethan Hawke and scheduled for its première at Venice in September. I think that we are going to hear a lot more about him. (His earlier novel The Dead Heart was adapted as Welcome to Whoop Whoop, a British-Australian comedy which suffered from the injury to its director Stephan Elliott in 1997.) Kennedy has also written travel literature, something of an advantage for writers of ‘international thrillers’. The Big Picture (which was the original title of the novel) introduces the coastline of Montenegro and in particular the heritage city of Kotor and the ship repair yards at Bijela. I found these fascinating and they give this film a different feel.
I think what marks this film out as something more than another generic ‘international thriller’ is a tight script, effective cinematography and editing and the performance of Romain Duris. It’s a thriller in the sense that an unsettling tone runs throughout and I was genuinely concerned about what the central character was going to do. I didn’t read too much about it beforehand and the two moments of violence are both handled well – I found them unsettling and shocking. Critics are referring to it as an ‘existential thriller’ and this is where the confusion arises. In this interesting review, the British trailer for the film is accused of making it look like an art film. Overall The Big Picture is definitely worth exploring for an evening’s entertainment and the kind of well-made film that boosts the reputation of the French industry. In France it opened at No 2 in the chart grossing over $3 million but failing to dislodge the blockbuster Little White Lies – that’s a shame because it’s a far better film than Guillaume Canet’s ‘comedy’. If I have one complaint about The Big Picture it’s that Catherine Deneuve is on screen for only a few short scenes and Neils Arestrup similarly has only a brief time to impress. The other factor that’s getting some interest is the score by Evgueni and Sacha Galperine. I wasn’t sure that his worked in the early part of the film, but by the end I was on side. A final piece of trivia – the director looks a little like Duris as he’s presented in the film and he’s married to Marina Foïs who plays Sarah Exben, Paul’s wife.