Alan Hunter introduced this screening in the midst of Glasgow’s ‘whiteout’ as a frivolous French comedy perfectly suited to the need to raise our spirits. He was right – it is a very silly film, but also at times very funny and it’s blessed by a performance at its centre by the great Rossy de Palma, everyone’s favourite supporting player in Almodóvar’s films, given a much bigger role.
How to describe the film? It’s a romantic comedy of sorts and also a fairytale, a ‘big house’ story with a tiny bit of social commentary/class consciousness – played as an ensemble piece. The set-up is a familiar ‘Americans in Paris’ story. Anne (Toni Collette) and Bob (Harvey Keitel) are a (supposedly) very wealthy couple spicing up their faltering marriage by taking over a grand house and gardens – somewhere still in the city but also exclusive. Anne has organised a dinner party for some distinguished guests but at the last moment her stepson, Steven (Tom Hughes) has turned up and invited himself. There are 13 for dinner and an extra guest must be found at the last moment. Anne decides to transform her maid Maria (Rossy de Palma) into a mysterious Spanish noblewoman – and instructs her to say little and be aloof. But a nervous Maria can’t disguise her real personality and she makes an unlikely conquest in the form of David (Michael Smiley), an art consultant who is there to attest to the provenance of a painting Bob wishes to sell. You can probably guess much of the rest of the plot of this riff on Cinderella.
From the cast list, you will have worked out that this is one of those wholly French films that are made in English for the international market. Writer-director Amanda Sthers joins the likes of Luc Besson and Mathieu Kassovitz in this kind of production. Sthers (real name Amanda Queffélec-Maruani) is a celebrated novelist, playwright and screenwriter in France and this is her second directorial venture. Some of Luc Besson’s English-language films such as Lucy (France 2014) have succeeded and similarly, other EuropaCorp (Besson’s company) productions such as the Taken and Transporter franchises have made money despite poor reviews. These films explore universal genres that appeal directly to audiences. I feel that Madame, though mainstream and accessible, won’t have the same appeal and so far its critical reception has not been great. The film was presented by StudioCanal at GFF and I fear that it may suffer the fate of several other ‘popular’ French films in the UK. StudioCanal tends to open them on a few screens and then rush out a DVD a couple of weeks later. Part of the problem is that the ageing, and therefore shrinking, UK audience for French films will ignore this English-language romcom as being ‘too frivolous’ and the general audience will find the French context slightly too different to their usual Anglo-American fare. Having said that, I noticed that the film has done reasonable business (over $US400,000) in Australia. Is that because of Toni Collette?
If you’d like to read a sympathetic review, I recommend ‘Eye for Film‘. I enjoyed the early part of the film and I did find some scenes genuinely funny. I’m always happy to watch Rossy de Palma. The narrative does depend on a sense of class difference but I’m not sure how well that works. Michael Smiley is a fine actor but I wasn’t convinced that he was as upper middle-class as the narrative suggested and overall the narrative doesn’t seem to be able to sustain itself across 90 minutes and lost its way towards the end.
It was a rainy Saturday night with nothing on TV so we rented Words and Pictures. I selected this on the basis that it was a Fred Schepisi film starring Juliette Binoche and Clive Owen and it was described on iTunes as a comedy. This film wasn’t, as far as I’m aware, released in UK cinemas. That says more about assumptions about UK cinema audiences than the quality of the film. And I think that older audiences might enjoy the film. Yes, it’s highly conventional and predictable but Binoche grappling with Clive Owen is always going to be watchable.
The setting is Vancouver standing in for somewhere in New England where Jack Marcus (Clive Owen) is an English honours teacher in a prep school, having once been a promising writer. Things are not going well for Jack. His students are not engaged and his son barely speaks to him (I don’t remember any references to the young man’s mother). As a result, Jack is hitting the vodka and his tenure at the school is starting to look precarious. The ‘inciting incident’ for the narrative is the arrival of a new ‘fine art honours’ teacher Dina Delsanto (Juliette Binoche). She’s beautiful, intelligent, and talented – and she has rheumatoid arthritis which is developing quickly. Jack is woken from his slumber by her arrival and he playfully challenges her with word games. He’s surprised when she promotes her art work over his literature with the students she shares with him. He retaliates with a challenge to show that the old saying that a picture is worth a thousand words is true. (He also recognises that the challenge may produce student work to fill his ailing school magazine – that the principal intends to close down.)
The setting and plot do perhaps suggest Schepisi’s fellow Australian Peter Weir’s Dead Poet’s Society and in a different way, The Mona Lisa Smile with Julia Roberts. But those films combined the question of what happens to ‘maverick’ teachers with the story of the impact of their teachings on their students’ lives. Words and Pictures is really only interested in the students as devices to develop the storyline about the potential romance between Owen and Binoche. I don’t think that it is a conventional romcom, however. It is certainly witty and there are moments when it seems about to get serious about the afflictions suffered by the two teachers, both of whom struggle to get back to their best artistic endeavours. But in the end, Jack’s alcoholism seems rather too easy to overcome and Dina’s arthritis is similarly suddenly controllable by medication. A conventional ending beckons and this is indeed mainstream entertainment. The pleasure is in the central pairing. I think Clive Owen is a very under-rated actor and here he is presented as dishevelled, bleary-eyed and far from a romantic lead, but he makes the character work. Juliette Binoche produced her own artworks for the film and the scenes of her composing her large paintings despite her disability are very well done. The two leads work well together.
The film seems to have suffered from an unusual limited distribution pattern over the whole summer of 2014 in North America, but only in a maximum of 216 cinemas for a few weeks and the rest of the time much smaller numbers – I’m assuming that for several weeks it only screened in Canada. It doesn’t seem to have been released in the UK or France. I hope it has found its audience on DVD and download – this is the kind of small film that has been most squeezed in the market over the last few years and it’s the kind of film we miss.
I’d heard many good things about Greta Gerwig and specifically about Frances Ha (US 2012) but so far I hadn’t seen any of her films. On this basis I decided to watch Maggie’s Plan. The smaller Cinema 2 at Cardiff’s Chapter Arts Centre was nearly full for an early evening show. Perhaps that isn’t surprising. Released through Sony Classics, Maggie’s Plan had what was once a standard specialised cinema release on 80 screens across the UK & Ireland and entered the Top 15 with a £100,000 on its first weekend. Is this an example of the new form of acceptable arthouse cinema for middle-class audiences in the UK?
Greta Gerwig is Maggie, a New York university teacher in her late twenties who has decided that she wants a baby, but doesn’t want a long-term lover/partner/husband because she doesn’t think she can sustain a long-term relationship. Her ‘plan’ involves self-insemination with sperm from a donor she knows but the plan is immediately jeopardised by a meeting with John, another teacher played by Ethan Hawke. He is in turn married to Julianne Moore as a Danish lecturer with a comedy European accent and hair drawn tightly back. Hawke’s teacher is an aspiring novelist teaching ‘ficto-critical anthropology’. His wife is rather more prestigious in the same field and she has tenure at Columbia plus a distinguished publications record. Maggie initially seeks to help him with his first novel. She has two close friends, Felicia and Tony, a couple with a small child who are ‘quirky’ in their behaviour but otherwise quite together and they are the foil for Maggie’s encounters with the Hawke/Moore characters.
The Hawke character immediately evokes his other author roles in Richard Linklater’s ‘Sunset’ trilogy (with Julie Delpy) and in Pawel Pawlikowski’s The Woman in the Fifth (France/UK/Poland 2011). In each case he is an American novelist, but unfortunately in Maggie’s Plan Rebecca Miller’s script and direction don’t manage to keep the usually excellent Hawke within bounds. His acting style doesn’t match that of Greta Gerwig and I found his character insufferable. Probably though it’s his playing against Julianne Moore who seems to be in another film entirely, over-playing manically, that is the real problem. Again Ms Moore is usually very good, so script and direction seem to be the issue.
There isn’t much plot in the film so the narrative relies on sharp dialogue and performances. Fortunately, Greta Gerwig fits her role well and she is always entertaining to watch. Her costumes – mostly sensible shoes and woollens are suitable for a New York winter. Sometimes they look a bit ‘clod-hoppy’ but mainly her engaging personality pulls her through. Not conventionally ‘beautiful’, Ms Gerwig is very attractive because she is at ease with her body and allows her personality to shine. She is at the centre of the comic moments for me, but reading other comments, I see that some find these scenes don’t work and that opinion is equally divided on the snappy dialogue. Maggie’s Plan is ‘clever’ but I don’t think it is ‘cool’ or ‘smart’ (i.e. in the way that films like Ghost World (US 2001) were once described because of their appeal to a specific demographic). It’s been variously described as an ‘indie rom-com’ and a ‘screwball comedy’. The latter seems some way off the mark to me. The film ends with the possibility of something slightly sentimental. I should add that there are children involved in the various relationships – all of whom are well-written and well-acted.
Maggie’s Plan appears to be a film more loved by critics than by the general audience (Rotten Tomatoes scores it 86% for critics as against 66% for audiences) – but perhaps more so by a specialised film audience. People around me certainly laughed, but often at gags that I didn’t find funny. Conversely, I smiled at moments which didn’t evoke laughter at all. I read that the film could be bracketed with Shakespearean comedies and Woody Allen – neither of which I can claim to know/enjoy. Maggie’s Plan is doing well at the box office and it certainly offers entertainment. I’ll definitely look for more Greta Gerwig performances, but perhaps I’ll avoid this kind of New York comedy.
The US trailer (which reveals the rest of the plot):
Planeta Singli is the latest Polish blockbuster to hit the UK in an attempt to find the large Polish diaspora audience. Polish is officially the UK’s leading second language (i.e. the first language of a million or more Poles resident in the UK). We’ve had Polish films on release in the UK over the last ten years or so, but usually from UK-based distributors. Planeta Singli follows Pitbull as a release from the US distributor Phoenix via an exclusive deal with Odeon (although I understand ‘second-run’ deals with other cinemas are a possibility). See Charles Gant in the Guardian for the full story.
The title of this new release refers to an internet dating app – ‘Planet Single’ – but the film’s narrative is much more complex than that single reference might suggest. This a rom-com that runs 136 mins –very long by UK/US rom-com standards. In fact, the film manages to combine two parallel family melodramas with a romance and a satire on talk shows as well as internet dating. Slovenian director Mitja Okorn already has form with his local Polish hit Letters to Santa (2011). Various European countries have local traditions involving comedies for particular seasons (e.g. the Christmas comedies in Italy) but Planeta Singli looks like a bid to challenge Hollywood directly (keeping Deadpool from top spot at the Polish box office). Ania (Agnieszka Wiedlocha) is a music teacher in an elementary school still ‘tied’ to her mother at 27 after her father’s death. Her friend Ola is married to the school’s head teacher who has a teenage daughter from his first marriage. Ola is glamorous but unable to hold down a job. Ania is responsible but seemingly rather ‘buttoned up’. Attempting internet dating for the first time, Ania finds herself somehow landed with Tomek (Maciej Stuhr), the presenter of an edgy TV talkshow which uses his skills as a puppeteer. Tomek does a deal with Ania – she will tell him the details of her dates that he will use for stories on his show and in return he will buy her a Steinway piano for her school music project.
What follows is in many ways quite conventional and the finale is also very sentimental (and invokes the music competition performance that has become something of a staple). Yet the writing is sharp, the film is genuinely funny and the performances are very good, especially from the two leads. Perhaps the most striking aspect of the film is the transformation in the presentation of Ania in terms of hair and make-up and especially costume. This ‘makeover’ reminded me of the Bette Davis character in Now Voyager. The film has the problem of presenting a beautiful woman as ‘dowdy’. The solution appears to be to dress her in loose tops and skirts, to pin her hair up and to give her oversize horn-rimmed glasses. As the transformation develops she lets her hair down, applies make-up and wears heels. Her costumes change to outfits that seemed to me to more like 60s and 70s fashion and several of them made me think of Audrey Hepburn. Fashion isn’t really my thing. Agnieszka Wiedlocha clearly is a beautiful woman who would still look great in jeans and a man’s shirt, preferably sans make-up – but that’s just my taste. I think someone interested in costume could have a field day with this film.
The music used in the film is another important element in the genre mix. A trailer for the next Polish release played before Planeta Singli, announcing ‘the first film to really use top Polish songs’. In Planeta Singli a couple of songs were in English including ‘The Man with an Unknown Soul’ by Polish singer Bovska and a striking version of Paul Simon’s ‘The Sound of Silence’ by Korean-American singer Nouela.
Overall this is an enjoyable rom-com and it’s easy to see why it has been such a big hit. I dread the thought of an American remake and in this respect the film made me think about the smash hit South Korean rom-com My Sassy Girl (2001) which was followed by less successful remakes in the US and India as well as a Chinese sequel. The Polish and Korean films are very different in some ways, though they share scenes associated with the drinking cultures of both countries. But what they both also do is offer genuine romance narratives with well thought-out characters and long complex narratives. If this film makes it to a DVD with subtitles, it would certainly be worth checking out. On subtitles, it’s worth noting that in a film with lots of texting between characters it’s quite difficult to subtitle all the exchanges flashing across the screen.
In the last six months I’ve now seen both Polish and Chinese blockbusters in Odeons outside London. Perhaps a Turkish film will be next?
Here’s the song by Bovska that has been edited to serve as a trailer for the film: