This French TV serial comprising 6 x 52 minute episodes is currently available on ‘Walter Presents’, the All4 strand offering foreign language drama in the UK. Set in 1962, this has predictably attracted some Mad Men references in the UK because it is set in the 1960s with close attention to period detail. It does have some Anglo-American TV references but I think it might be a little difficult for some UK audiences to read since it is set in the context of French politics in the early 1960s, a period of great turbulence and no little danger.
The ‘speakerine’ of the title is Christine Beauval (Marie Gillain), the principal ‘announcer’ on RTF (Radiodiffusion-Télévision Française) the French public broadcasting organisation which in 1962 operated only one TV channel and four radio stations. TV broadcasting took much longer to develop in most of Europe compared to the UK and North America and Christine is more like the female presenters on UK TV in the early 1950s who added some glamour and personality to programming while imparting information about the days limited programming. RTF was a ‘PSB’ but unlike the BBC it was much more directly controlled by the French government and therefore a target for political activists. 1962 was a particularly difficult period for the new 5th Republic after President de Gaulle recognised the independence of Algeria, signing the Évian Accords in March 1962 with full independence being declared on July 3rd 1962. There was fierce resistance to de Gaulle’s action from the OAS – the paramilitary organisation set up by ex-soldiers who had fought against the FLN (the Algerian independence movement) as well as pieds noirs (Algerian-born French) and assorted fascists. Several attempts were made to assassinate de Gaulle, one of which formed the basis for Frederick Forsyth’s 1971 thriller ‘The Day of the Jackal’, adapted as a successful film in 1973.
The third political force in France at the time was the French communist party (PCF). In this serial, the management of RTF is associated with control by the Gaullist government. The only communist I’ve come across so far is a journalist at RTF who is clearly sympathetic to the unions in the building. Christine Beauval is married to Pierre (Guillaume de Tonquédec) who is Head of Information at RTF and therefore technically his wife’s line boss. However, the head of the TV channel overall, Darnet, is an enemy of Beauval and is competing with him to head a new venture, ‘Mondovision’. This refers to a broadcast link with the United States via the new Telstar satellites, the first of which was launched in 1962. The satellites enabled live TV links between the US, UK, France, Germany, Italy and Canada. The series shows US personnel arriving in Paris and this was high level stuff having implications for NATO and in particular the rather different ideas of the French and British governments towards the alliance. The BBC were in charge of co-ordinating the transmissions.
This is the background but the initial focus is on a disturbing series of events featuring the Beauval family. Christine, as the most familiar face of RTF programming with a large fan base, has received threatening letters and has been subject to quite frightening ‘stunts’/’accidents’. Her 18 year-old daughter Colette has got involved with an older man, a politician (the Minister for Information played by Grégory Fitoussi), and finds herself in a difficult situation when she joins a schoolfriend to go to a party which turns out to be not what she expected at all and puts her in a very dangerous situation. Meanwhile her older brother, whose parents managed to prevent from serving in the army in Algeria, has become interested in supporting the OAS because he has friends who have ‘disappeared’ while on military service.
This series of events (and more I haven’t spoiled) has happened by midway through the second episode and I’m hooked. We seem to be in a crime thriller and political intrigue all worked through a family melodrama and one of the darkest moments of French post-war history. Some 2,000 or more people were killed in attacks on Maghrebi people, representatives of the state/public sector and indeed anyone caught in the wrong place at the wrong time, by the OAS. This mix is reminiscent of the three series of Forbrydelsen/The Killing (Denmark-Sweden 2007-12). It is also reminiscent, in a different way, of the recent UK drama serial The Trial of Christine Keeler (UK 2019). The early 1960s saw a series of sex scandals in British politics. The final ingredient in this already potent mixture is the issue of women working in the TV industry and the sexism they face. Just as Christine is looking to move into a form of broadcast journalism at RTF, a new threat to her position appears in the form of a young ‘pretender’ to her role as an announcer. Isabelle (Barbara Probst) claims to be 23 and she is what the older men in charge at RTF think of as a ‘looker’. She is also very bright and highly skilled at deception. What is she up to?
From what I’ve seen so far, this is a polished production by France Télévisions (RTF’s PSB successor) with a standout performance by Marie Gillain and good use of locations and period detail. The French New Wave films in the early 1960s were later accused of avoiding many of the political issues of the period (much as RTF in this series avoids ‘unpleasant’ news stories) but I was pleased to get a sense of various French film genres in this serial. There are certainly strong indicators of the crime and political thriller films in this production. When I looked up Marie Gillain I realised I had seen her as one of the SOE resistance fighters in Les femmes de l’ombre (Female Agents, France 2008).
Since I started this posting, I’ve watched two more episodes and therefore four out of the six episodes and the serial is holding up well. I now see that because Christine is the central figure, the position of women in France in the early 1960s is becoming increasingly central. The series is written by a large team of four men and three women and directed by Laurent Tuel. I recommend the serial but I’m struggling with All4’s use of adverts, seemingly thrown across each episode almost randomly, presumably to persuade us to have them removed for a monthly fee. This isn’t the way to go about building your audience Channel 4!
I couldn’t find a subtitled clip, but here is a French trailer without subs, giving a good idea of the serial in visual terms:
This film was confusingly re-titled The Candidate for its limited UK release in August 2019. LIFF director Chris Fell introduced the screening, explaining that the film was screened as one of the three nominations for the LUX European Film Award. We received some LUX information and Chris reminded us that one of the other two nominees, God Exists, Her Name is Petrunya (North Macedonia 2019) had already been screened twice in the festival – and had been recommended to me.
The Realm begins with what seems to be a Goodfellas steal. A man in a suit walks off a beach into the kitchen of a restaurant, picks up a plate of ‘red shrimp’ and carries it through to a table in a private room in the restaurant. The camera races along behind this swiftly moving character and when he sits down to eat it swings around the other diners and then rapidly cuts between them. They are all talking nineteen to the dozen and at one point mocking a politician on the large TV screen on the wall, all the while stuffing themselves with expensive food and drink. The combination of camerawork, dialogue and performance makes watching this opening scene a dizzying experience as the subtitles fly past. As a Spanish-speaking friend observed, even he found it hard to follow.
It took me perhaps the first half an hour of a 2 hour plus film to fully realise what was happening. The restaurant group includes politicians and various investors/developers who have all been part of a scheme to profit from European Union monies which has been illegally used in rezoning land to sell to developers. Corruption in local/regional government has made these people very rich. The central character is Manuel (‘Manu’), a self-made man who after 15 years has risen to a position where he expects to be nominated as a ‘Regional Vice-President’ of his party on the way to a national profile. As played by Antonio de la Torre, Manu is a short man with an energetic and aggressive attitude, There is an element of what in the UK would be a ‘chip on his shoulder’, a feeling that because he didn’t complete his degree, some of his colleagues might look down on him. He has also ‘married up’ as his wife reminds him. Inés (Mónica López) is taller than her husband. He reminded me of a kind of caricature Football League manager or certain kinds of Tory politician – the Spanish political party is not named and neither is the region though Andalucia seems a good bet. Valencia is also listed as a location.
Manu’s insecurity is important because as soon as somebody ‘talks’ to the police about the corruption, his world begins to collapse and he soon realises that there are very few people he can trust. The film’s strength is the way in which director Rodrigo Sorogyen (who also co-wrote the film with regular writing partner Isabel Peña) gradually forces us to identify with this repulsive man and to become complicit in the corruption as he fights back against both his colleagues and potentially the even bigger beasts in Madrid. This is clearly the point of the film which ends with a speech by a TV journalist. The speech (and the whole TV studio scenario) reminded me in some ways of the famous tirade by Peter Finch at the end of Network (US 1976), not so much because of the content of that speech but more the sense that broadcast media is part of the same capitalist conspiracy. I can’t really discuss what is actually said without spoiling the thriller element of the film and the last half an hour is certainly thrilling.
In an interview for Cineuropa, Sorgyen and Peña suggest that rather than provocatively suggesting corruption might happen, they were instead responding to what Spanish citizens were already discussing: “we took the risk of talking about this issue because society is more and more ready for it”.
I should watch the film again and try to decipher the opening. The performances, the use of locations and the camerawork are fabulous. The techno score which many people seem to love nearly drove me insane. Perhaps I’m just past it music-wise but it seemed unnecessary – the film was exciting enough without the overkill. The UK distributor for the film, Signature Entertainment, put it into a single cinema on August 2nd and took £1,065 over the weekend. The DVD and Digital download were released on the same day. I don’t think Signature have much experience of foreign language titles, most of the films on their website look like genre fare with occasional American indies and several English-language European films. Most releases follow this cross platform release pattern. Why wasn’t this film picked up by a specialist arthouse distributor?
After the screening somebody suggested that it was like watching “Borgen on speed”. I can see that and in fact this kind of political/business thriller fuelled a couple of series of the Danish serial Follow the Money and the structure and mix of elements does feel a bit like a Scandinavian drama. It seems it should be on digital download so I suggest you search on streaming services checking all three versions of the title to find it. A strong cup of coffee to make sure you are caffeinated for the opening 30 minutes is advised.
As I remember it, Defence of the Realm was well-received when it was released; I certainly enjoyed it at the time. The film follows investigative journalist Nick Mullen (Gabriel Byrne) as he digs into a politician compromised as a possible spy. What’s striking now is how naive the film seems (or is it me?), although the idea that the security services use the press to disseminate propaganda wasn’t new it seems to suggest it is surprising (The Sunday Times‘ ‘death on the rock’ story rubbishing witnesses to the state-approved assassination of IRA members in Gibraltar was just around the corner). I suppose you could take Mullen’s naiveté to be a narrative device, though the ‘world weariness’ of Byrne’s persona makes it difficult to believe he would be so gullible, to lead the unsuspecting in the audience through to the ‘horrific’ realisation about the corruption of the British Establishment.
The film is an effective thriller, though the newsroom and printing presses are oddly ‘unbusy’ too often. Denhom Elliott is excellent as the ‘shabby malcontent’ who has seen it all but now observes the world through the bottom of a glass. Another aspect that dates the film is the marginalisation of women: Greta Scacchi doesn’t get much to do.
Are people more aware nowadays about how the press is both compromised by proprietors’ commercial interests (noted in the film) and their links to the security services? Whilst social media has facilitated the expulsion of bile into the ‘public sphere’ it has also served as a tool of education. Media Lens‘ analysis, for example, must surely have lifted the scales from many people’s eyes about the corruption of the fourth estate (which is meant to hold those in power to account) and Mark Curtis is always informative on foreign policy.
It’s easy to assume that things were better in the past but I find it hard to believe any newspaper would have had the front to suggest that Boris Johnson is fit to be Prime Minister before the ‘post-truth’ age. Fake news is not new but brazen lying by politicians, and not getting held to account for it, is a curse of our times. Part of the problem we have in the UK is the complete failure of the BBC as a news organisation (Tom Mills is an excellent commentator on this); whilst it’s always been an Establishment mouthpiece (one Director General who tried to fulfil the BBC’s news role, Alisdair Milne, was forced to resign by a Thatcher appointee) its editorial decisions have shifted so far to the right that it can no longer be considered centrist (there are too many examples: giving a platform to the ‘far right’; not only the failure to investigate Leave.EU’s criminality but inviting them to spin their version whilst ignoring their accusers; the vilification of Julian Assange; hit jobs on Corbyn and so on.
Defence of the Realm reminds us of the controversy of nuclear weapons on British soil that precipitated the Greenham Women protests. How they were vilified by the press at the time, just as Extinction Rebellion is now! There’s a, not particularly good, exhibition on at Manchester Art Gallery, Get Together and Get Things Done, that shows us what the Establishment vilifies as an unacceptable attack on the status quo, is often later eulogised (co-opted) if the protest succeeds.
Rojo is a meticulously scripted and played mystery drama/thriller. It is calm and ‘dry’ with touches of humour but beneath the surface is a commentary on one of the darkest periods of Argentina’s history. The time is around 1975 and the setting is a provincial town. The opening scene offers a static camera watching the door of an unremarkable house in a quiet street. Over the next few minutes someone will open the door and come out carrying a household item like a wall-clock or a mirror. Perhaps some kind of house clearance sale is taking place indoors? In the next scene a man is sitting at his table in a restaurant waiting for his wife to arrive before ordering his food. A second man comes into the restaurant and starts arguing with the waiter because no tables are free. The argument will then include the man waiting for his wife who eventually feels obliged to give up his table before the newcomer starts any more trouble. But still the man who has lost his table can’t resist from criticising the other man for being boorish and morally degraded. We suspect that this might not work out well in the long-term.
These two scenes set up the tone of the narrative very well and I won’t spoil the plot any further since the film will appear in both the UK and US and presumably in the other co-producing countries after some successful festival appearances. This is the third film by the rising Argentinian auteur Benjamín Naishtat after a début as one of several directors on the compendium film Historias Breves 5 (Argentina 2009). Rojo appears to be a step up with the casting of two well-known actors. The man waiting for his wife in the restaurant is Claudio, a local lawyer played by Darío Grandinetti, who is probably best known to UK audiences for his roles in Pedro Almodóvar’s Talk to Me (2002) and Julieta (Spain 2016) plus the Argentinian comedy-drama Wild Tales (Argentina-Spain 2014). Claudio exudes ‘respectability’ and possibly the sense of someone who thinks he is more sophisticated and cultured/educated than he is in reality. He is the narrative’s central character and he isn’t really prepared for what is going to happen to him. Later on he will be up against a private detective, ‘Sinclair’, who was once a real policeman and then a TV detective. This character is played by the Chilean actor Alfredo Castro, perhaps best-known to European audiences for his roles in films for Pablo Larraín.
In small provincial towns, everybody knows everybody else and anything unusual gets talked about. But this also generates a concern about other people knowing your business and can lead to forms of paranoia. This is what suffuses Rojo. I do wonder how the film will fare on release outside Argentina. UK audiences seemed to get on very well with the original version of the The Secret in their Eyes (Argentina-Spain 2009), but that was a film scripted like an American thriller. Rojo requires a modicum of knowledge about Argentina’s political history – and a willingness to think about possible symbols and metaphors. The title simply means ‘red’ in Spanish but in the 1970s it might have referred to suspected communists.
Rojo has been acquired by New Wave, one of the best UK distributors for foreign language films. I suspect that this is a film that some people will love and others may leave the screening still puzzled. All the same, I’d urge you to go and see it. The trailer below gives a few more clues to what the film is about but not too many.
Spain has numerous films that deal with the psychological aftermath of Franco’s fascist state and Peru, too, is trying to come to terms with what was effectively a civil war between authoritarian government and Maoist guerillas. The Final Hour refers to the endgame when the terrorists’ (the ‘Shining Path’) leader, Abimael Guzmán, was captured. Afterwards, the revolutionary movement started to splinter and fade.
Writer-director Eduardo Mendoza de Echave has used the tropes of the detective genre to investigate both the political machinations of the time, and the impact the war had on individuals. Generically it’s conventional (the maverick detective, an under-resourced unit, office politics getting in the way, dysfunctional families etc.), however by placing it in the context of Peru in 1992, we get a fascinating insight into the reality of that time and place.
I was particularly taken by the performance of Nidia Bermejo (above right) as a nurse-turned-cop; the career switch was in response to the indiscriminate bombings of the terrorists. She’s indigenous and her brother is involved with the ‘Shining Path’ and so her loyalties are severely torn. Although the film is clear about who the good guys are (the detectives), the state is shown to be as bad as the rebels.
The film’s based on fact and it is interesting to see how Guzmán was finally captured but it is the personal costs involved in living in a state of civil war that are the most important aspect of the film. Apparently it was a hit in Peru, suggesting a hunger to deal with the past. IMDb lists its budget as a barely credible $30,000; for that it is an astounding achievement. (Netflix)
Widows represents a further step into the mainstream for co-writer and director Steve McQueen. Ironically, given 12 Years a Slave was essentially an art movie, this is likely to be less financially successful than its predecessor. Business Insider attributes this to the November release date; whatever the reason it’s not for the lack of thrills within the film.
Based on Lynda LaPlante’s ’80s TV series the film centres around a heist undertaken, in desperation, by the widows of thieves. It has elements of a number of genres, including the heist movie, political corruption thriller and urban gangster. McQueen overlays a political analysis that is both specific to Chicago (the film’s setting) and, he argues in his Sight & Soundinterview (November), the world. McQueen manages to both revitalise the car chase (the brilliant opening) and use sound in distinctive ways. An example of the latter is where Daniel Kaluuya’s psychopath is listening to Black Panther Alfred Woodfox, on the radio, talking about his 44 years in prison. This brings in the discourse of racial politics and, particularly in one scene, #BlackLivesMatter (not as convincing as a similar scene in The Hate U Give).
Sound is also to the fore when Colin Farrell’s conflicted politician, Jack Mulligan, leaves the Projects to return to his leafy home, barely a minute away. Whilst Mulligan rages on the soundtrack the camera remains on the car’s bonnet observing the shift in wealth of the environment.
It’s a stellar cast: Viola Davis, Michelle Rodriquez, Liam Neeson, as well as the aforementioned Kaluuya and Farrell. Robert Duval plays Mulligan’s dad and leaves a lasting impression as a hate-filled demagogue. The budget, notwithstanding the immense financial success of 12 Years a Slave, was a meagre $42m so it’s obvious that the talent is keen to work with McQueen.
Given the director’s ethnicity I was surprised to see, once or twice, that Viola Davis’ face was less clear than the white actor in the scene. It’s difficult to shoot both clearly, though I imagine digital technology could ‘cure’ this, and it is commonplace to have the black face more undifferentiated than the white. I’d’ve thought McQueen, and his cinematographer Sean Bobbit, would have reversed the power relationship.
However the film is as much about gender as race and McQueen ensures we have no doubt about the evil of toxic masculinity. There’s one moment when Neeson screws up his face and wails about saving himself that is especially noteworthy. Davis portrays her widow as indomitable in the face of her circumstances and Elizabeth Debecki’s transformation of an abused wife to a self-contained woman is entirely convincing.
Unsurprisingly, Widows doesn’t have the power of 12 Years a Slave, the subject matter sees to that, but McQueen confirms himself to be one of the most imaginative directors on the circuit.