Under the Sun of Satan

 

Based on the novel by Georges Bernanos, Sous le soleil de Satan (Under the Sun of Satan) is the story of a priest who is tormented by the world in general despite his gift to do good amidst a tumultuous time in 1920s France. Directed by Maurice Pialat and screenplay by Pialat and Sylvie Danton, the film is an exploration of faith and a priest’s attempt to save a young woman and others from sin and the evils of the world. Starring Gerard Depardieu, Sandrine Bonnaire, and Maurice Pialat. Sous le soleil de Satan is an eerie and evocative film from Maurice Pialat.

The film follows a priest working at parish in a small town in 1920s France as he is consumed with doubt and uncertainty as he also deals with the chaos created by a young woman who seeks help only to be tempted by her own vices. It is a film that is an exploration of faith in a tumultuous world where this priest has just been ordained by the Catholic Church though he is convinced that he isn’t ready to be a priest. Especially as he asks God about his worth after learning about what this young woman had done as she is the daughter of the local brewer. The film’s screenplay by Maurice Pialat and Sylvie Danton explores the many doubts that Donissan (Gerard Depardieu) is going through as he would punish himself at times as the first act is about Donissan’s insecurities but also this story about Mouchette (Sandrine Bonnaire) who has been having affairs with a local marquis and a doctor as she learns she is pregnant with the former’s baby but things have gotten complicated as she’s also the local brewer’s daughter.

Donissan and Mouchette wouldn’t meet until the halfway point in the film in its second act as the former would have this encounter with a horse dealer (Jean-Christophe Bouvet) who isn’t exactly who he seems as he is a much darker figure that would play into Donissan’s faith. Especially as he would add more doubt to Donissan upon his meeting with Mouchette where he realizes what she had done as he wants her to confess in order to save herself yet she isn’t interested as she is filled with her own turmoil in her life. It would add to these things that Donissan would see as he turns to his mentor Menou-Segrais (Maurice Pialat) who is trying assure Donissan in that he can be a good priest though he also becomes aware of Donissan’s mental issues. The film’s third act plays into the things that Donissan had seen as well as his own struggles with faith as people see him as someone they can go to for a miracle but he sees it more as a burden.

Pialat’s direction is entrancing for the way it plays into a man’s struggle with faith in this small French town set in the 1920s as it is shot on different locations in the small towns of Montreuil-sur-Mer and Fressin. Pialat’s usage of wide and medium shots don’t just play into the locations that the characters are in but also into Donissan’s disconnect with the world around him as he feels like he is unworthy to serve God. Pialat also uses a lot of long shots for some of the conversations including the ones that Mouchette would have with her lovers where Pialat’s close-ups add to the striking look of the film. Even in the conversation between Donissan and Mouchette is added with intrigue as they talk with a destroyed house in the background as it play into the chaos that both characters are dealing with in their respective lives. There are also these intense acts of violence that is committed by Mouchette as it plays into her troubled state as well as the fact that she’s a young woman that feels like she has no control of her emotions and desires.

Pialat also plays into these elements of surrealism as it relates to Donissan’s encounter with the horse dealer as the look of the film changes into something far colder as the film would progress into something much bleaker. Yet, there are these elements of hope that the small town would see in Donissan but it only adds to his own anxieties. Even as he tends to a family with a boy that is dying as it plays into his desires to be worthy of God’s love though he is tempted by hate and doubt. Pialat also has these moments that play into people eager to be saved through Donissan as it plays into him figuring out his role but also the fact that evil still looms as its finale is about him giving in to God or Satan. Overall, Pialat crafts a riveting and haunting film about a priest’s struggle with his faith and his attempt to save a young woman from madness.

Cinematographer Willy Kurant does incredible work with the film’s cinematography with its naturalistic look for some of the film’s daytime exterior scenes along with unique lighting for some of the film’s interior shots along with some stylish blue filters for the scenes where Donissan meets the horse dealer. Editor Yann Dedet does brilliant work with the editing with its stylish usage of jump-cuts that allows the long shots to be cut abruptly yet it works to enhance the dramatic effect including Donissan’s meeting with Mouchette. Production designer Katia Wyszkop and set decorator Gerard Marcireau do excellent work with the look of the rooms that Donissan would live in during his time in different parishes but also the posh home of one of Mouchette’s lover in the marquis.

Costume designer Gil Noir does fantastic work with the costumes from the robes many of the priests wear as well as some of the posh-like clothing that Mouchette wears. The sound work of Louis Gimel is superb for its natural approach to sound in capturing everything that is happening on the location while enhancing some of Mouchette’s screams. The film’s music by Henri Dutilleux is wonderful as it is this low-key classical piece that plays into Donissan’s doubt and struggles with its soft yet brooding string arrangements.

The film’s terrific ensemble cast feature notable small roles from Marcel Anselin as the Bishop Gerbier, Philippe Pallut as a young quarryman whom Donissan meets on his walk, Marie-Antoinette Lorge as a housemaid at the home where Donissan and Menou-Segrais live in, Corinne Bourdon as a woman whose child is dying as she turns to Donissan, Brigitte Legendre as Mouchette’s mother, Jean-Claude Bourlat as a priest in Malorthy, and Jean-Christophe Bouvet as a horse dealer that Donissan meets during his walk as he is revealed to be something far more sinister. Yann Dedet and Alain Arthur are fantastic in their respective roles as Mouchette’s lovers in the doctor Gallet and the marquis Cadignan with the former being concerned and troubled by Mouchette’s confessions and desires while the latter is someone who is also married but is unsure about wanting to continue until things suddenly go wrong.

Maurice Pialat is brilliant as Menou-Segrais as a veteran priest who mentors Donissan as he also becomes concerned about Donissan’s struggles and other mysterious events as he also tries to assure his protégé about what to do. Sandrine Bonnaire is incredible as Mouchette as a young woman who is pregnant yet consumed with guilt and anger as well as her own sense of uncertainty in her many affairs and her own place in the world. Finally, there’s Gerard Depardieu in a phenomenal performance as Donissan as a newly-ordained priest who struggles with his role as well as his own faith where he often questions his worth but also the world around him believing he couldn’t do anything as the sense of anguish and humility adds to the restrained and grounded performance that Depardieu brings.

Sous le soleil de Satan is a tremendous film from Maurice Pialat that features great leading performances from Gerard Depardieu and Sandrine Bonnaire. Along with its ensemble cast, eerie visuals, a haunting music soundtrack, stylish editing, and its exploration of doubt and devotion. It is a film that explores a priest’s struggle to maintain his faith in a chaotic world while trying to save a young woman from her own sins. In the end, Sous le soleil de Satan is a sensational film from Maurice Pialat.

Maurice Pialat Films: (L’amour existe) – (Naked Childhood) – (We Won’t Grow Old Together) – (The Mouth Agape) – (Graduate First) – (Loulou) – (A Nos Amour) – (Police (1985 film)) – (Van Gogh (1991 film)) – (Le Garcu)

© thevoid99 2023

2015 Cannes Marathon: CQ

(Played Out of Competition at the 2001 Cannes Film Festival)

Written and directed by Roman Coppola, CQ is the story of a young filmmaker/editor who is asked by producers to finish a sci-fi film for them as he would fall in love with the film’s leading lady. It’s a film where a young man is given the chance to make a movie while he copes with his own personal life and his own desires to make personal films. Starring Jeremy Davies, Angela Lindvall, Elodie Bouchez, Giancarlo Giannini, Massimo Ghini, Jason Schwartzman, Billy Zane, and Gerard Depardieu. CQ is a stylish yet exuberant film from Roman Coppola.

Set in late 1960s France, the film revolves around a young American filmmaker who is working as an editor/second unit director for a revered filmmaker into sci-fi story until he is eventually asked to take over and finish the film once the original director is fired. There, he becomes fascinated by the film’s leading lady while trying to make his own personal films based on his own confessions about his life as his relationship with his French girlfriend starts to fall apart. It’s a film that sort of spoofs sci-fi films but also plays into the world of 1960s film culture and studio politics as some of it is based on real-life incidents and battles of the film’s writer/director Roman Coppola’s father Francis Ford Coppola.

Coppola’s screenplay plays into the conflicts and desires of its lead Paul Ballard (Jeremy Davies) who is happy in taking the chance to work for the director Andrezej (Gerard Depardieu) on this sci-fi film called Codename: Dragonfly that is starring an American newcomer by the name of Valentine (Angela Lindvall). Yet, when Andrezej is fired from the production by producer Enzo (Giancarlo Giannini), Paul ponders about what to do as the film stock and cameras he borrows to make his own film which is a documentary about himself. Even as he is eventually asked to take over for Andrezej to finish the film as it would be the moment where he is given the chance to make a film. Yet, the script plays into Paul’s conflict about what he wants to do as well as honor the intentions of the man whom he has replaced. Even as he copes with studio politics and his own personal life along with a saboteur who is trying to stop Paul from finishing the film.

Coppola’s direction is quite stylish not just in his varied approach to the films that were being made at the time but also in displaying the idea of what it was like in the world of films in the late 1960s. Notably as he would model much of the ideas of the sci-fi movie based on other film as it does pay tribute to films like Barbarella while Paul’s own film is definitely inspired by the French New Wave. Coppola brings in a lot of unique camera angles and compositions to the film while much of it is shot in Paris with some of it shot on location in Rome. Coppola’s usage of close-ups and medium shots are evident with a few wide shots that is used as he plays into the world of filmmaking as well as a man coming to grips with his own life. Even as his relationship with his stewardess girlfriend Marlene (Elodie Bouchez) is at a crossroads as she would raise questions about the film he’s making. It plays into Paul coming to terms with what he wants as a filmmaker but also as a person as he also deals with the blurring between reality and fantasy. Overall, Coppola creates a very witty yet engaging film about a young man getting the chance to make a film.

Cinematographer Robert Yeoman does amazing work with the film‘s cinematography as it is very colorful for some of the scenes made for the film-within-the-film as well as its usage of lights for some of the interiors and nighttime exterior scenes. Editors Leslie Jones does brilliant work with the editing as it is very stylish with its jump-cuts, slow-motion cuts, and other moments that play into Paul‘s point-of-view as an editor. Production designer Dean Tavoularis, with art directors Luc Chalon and Oshin Yeghiazariantz and set decorator Philippe Tulure, does fantastic work with the design of the Dragonfly character‘s spaceship and the set of the film as well as the apartment Paul and Marlene live in and other sets to play into the world of film.

Costume designer Judy Shrewsbury does excellent work with the costumes to create that look of late 1960s cinema as well as the clothes of the Dragonfly character. Sound designer Richard Beggs and sound editor Michael Kirchberger do superb work with the sound in some of the sound effects created for the film-within-a-film as well as what goes on during a production as well as the sound of old cameras. The film’s music by the French electronic band Mellow is wonderful for its playful and 60s-based score with elements of electronic and pop music in the mix while music supervisor Brian Reitzell brings in a fun soundtrack consisting of Euro-pop songs from Claude Francois, Jacques Dutronc, Paul Piot, Francesco Pennino, and Antonello Paliotti.

The casting by Blythe Cappello, Beatrice Kruger, and Juliette Menager is great as it features small appearances from Romain Duris as a young filmmaker, production designer Dean Tavoularis as a viewer of the unfinished film Andrezej is making, Sofia Coppola as Enzo’s mistress in Rome, L.M. Kit Carson as a fantasy critic observing what Paul is making, Natalia Vodianova as a model-girlfriend of filmmaker Felix de Marco, Silvio Muccino as an editor friend of Paul in Pippo, and Dean Stockwell in a terrific one-scene performance as Paul’s father who visits him at an airport where he talks about a dream that would relate to a possible doppelganger of Paul. John Phillip Law is wonderful as a corporate figurehead in the movie as he would hire Dragonfly to retrieve a weapon while Billy Zane is superb as that movie’s antagonist Mr. E as a revolutionary trying to bring peace and love back to the world.

Jason Schwartzman is hilarious as the kitsch filmmaker Felix de Marco as he is a character that is sort of based on Roger Corman as a young filmmaker who makes cheesy B-movies. Massimo Ghini is excellent as the producer Fabrizio who is convinced that Paul can save the movie as he is the more reasonable producer who knows talent. Giancarlo Giannini is fantastic as the producer Enzo who is not happy with Andrezej’s initial rough cut as he is full of life as he is based on the producer Dino De Laurentiis. Gerard Depardieu is amazing as the filmmaker Andrezej who believes that his film will be revolutionary until his ideas of how he wants to end it has him fired as some of his antics is based on other filmmakers including Roman Coppola’s father Francis Ford Coppola.

Elodie Bouchez is brilliant as Paul’s girlfriend Marlene who copes with Paul’s obsession with his own film as well as feeling neglected due to Paul’s work. Angela Lindvall is radiant as the actress Valentine who plays the lead role of Dragonfly in the film as she has a striking sensuality for the role while showing someone who is really just a normal American woman. Finally, there’s Jeremy Davies in a remarkable performance as Paul Ballard as a young filmmaker trying to make his own personal film while given the chance to become a filmmaker in finishing this sci-fi film as he copes with his own personal issues and desires as Davies brings a quiet humility into his role.

CQ is a phenomenal film from Roman Coppola that features a great cast led by Jeremy Davies and an ode to the world of 60s cinema. It’s a film that isn’t just exciting and full of humor but it’s also a film that showcases cinema at a crucial time as it goes from the world of studio-based films to the more personal work that would occur in the 1970s. In the end, CQ is a spectacular film from Roman Coppola.

© thevoid99 2015

The Woman Next Door

Directed by Francois Truffaut and written by Truffaut, Jean Aurel, and Suzanne Schiffman, La Femme d’a cote (The Woman Next Door) is the story of a family man who learns that his former lover has moved in next door with a family of her own as the two try to deal with their feelings for each other. The film is an exploration of love that was lost as two lovers have an unexpected reunion but with attachments they couldn’t leave behind. Starring Gerard Depardieu and Fanny Ardant. La Femme d’a cote is a rapturous and intoxicating film from Francois Truffaut.

In this interpretation of the legendary love story Tristan and Iseult, the film is an exploration of two people who hadn’t seen each other for eight years as they rekindle a passionate love affair. Yet, they’re consumed with guilt over committing adultery and keeping it a secret from their spouses as old wounds begin to re-emerge. The film’s screenplay is told from the perspective of a tennis club owner Madame Jouve (Veronique Silver) who had also endure the same kind of heartbreak and temptation that Bernard (Gerard Depardieu) and Mathilde (Fanny Ardant) are dealing with as they would see each other for the first time in eight years. While both Bernard and Mathilde are married to other people with a son for Bernard, the two are drawn into capturing a love that had happened a long time ago. Unfortunately, their devotion to their spouses complicate things as the film’s second half showcases not just one wanting to continue the affair but also a sense of resistance that would force some truths to come out.

Francois Truffaut’s direction is very simple as he doesn’t really go for any sense of style as the film opens and ends with Madame Jouve telling the story about Bernard and Mathilde but that is it as she’s essentially a supporting character in this story. Shot on location in Grenoble, the film definitely has a small town look and feel where Truffaut does use a few wide shots but mostly go for medium shots and close-ups to play into this romance that is resurging. Even in the way he let the actors play into their emotion as there’s also these unique shots of longing where Bernard and Mathilde would often look out at the window to observe the other lives they have. These shots play into the looming sense of guilt that occurs as it would drive much of the film’s third act in its exploration of love and guilt. Overall, Truffaut crafts a very captivating and somber film about two lovers who reunite as neighbors.

Cinematographer William Lubtchansky does excellent work with the cinematography from the sunny and colorful look of the locations and tennis club in the day to some of the lighting schemes set at night. Editor Martine Barraque does nice work with the editing as it‘s very straightforward with a few jump-cuts and some dissolves to create a sense of style to express the sense of longing. Production designer Jean-Pierre Kohut-Svelko does superb work with the look of the different homes that Bernard and Mathilde live in.

Costume designer Michele Cerf does brilliant work with the costumes from the clothes that Mathilde wears to express her great taste in fashion along with some of the more casual look of the men. The sound work of Michel Laurent and Jacques Maumont is terrific for some of the sound effects that occurs in some of the film‘s location setting as well as some scenes that play into the film‘s drama. The film’s music by Georges Delerue is fantastic for its somber orchestral score to play into the drama and sense of longing that Bernard and Mathilde have for each other.

The film’s cast features some notable small roles from Olivier Bedquaert as Bernard’s young son Thomas, Philippe Morier-Genoud as a doctor late in the film, Roger Van Hool as a publishing friend of Mathilde’s husband who helps Mathilde with a book, and Veronique Silver in a wonderful performance as Madame Jouve who tells the story as she is someone who understands what Bernard and Mathilde are going through. Michele Baumgartner is terrific as Bernard’s very kind wife Arlette who is concerned over Bernard’s behavior while Henri Garcin is excellent as Mathilde’s husband Philippe who begins to suspect something as he tries to understand what is wife is going through and try to hide.

Finally, there’s the duo of Gerard Depardieu and Fanny Ardant in exquisitely phenomenal performances in their respective roles as Bernard and Mathilde. Depardieu brings this ferocity to someone who is eager to capture a part of his life that he had lost. Ardant has a much more restrained role as a woman anguished by her past as she isn’t sure if she wants to continue as both she and Depardieu manage to present aspects of charm but also a great weight of despair into their performances.

La Femme d’a cote is a rich and enchanting film from Francois Truffaut that features majestic performances from Gerard Depardieu and Fanny Ardant. It’s a film that explores old love returning and the emotional baggage it carries for two people who think they have moved on. In the end, La Femme d’a cote is a remarkable film from Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - Confidentially Yours

The Auteur #40: Francois Truffaut (Pt. 1) - (Pt. 2)

© thevoid99 2014

Potiche

Based on the play by Pierre Barillett and Jean-Pierre Gredy, Potiche is the story about a trophy wife who takes over her husband’s umbrella factory following a worker’s strike as she hopes to improve things for everyone despite her family’s misgivings. Written for the screen and directed by Francois Ozon, the film explores a woman trying to find meaning in her life as she feels underestimated by her own family. Starring Catherine Deneuve, Gerard Depardieu, Fabrice Luchini, Jeremie Renier, Karin Viard, Evelyne Dandry, and Judith Godreche. Potiche is a stylish and light-hearted comedy from Francois Ozon.

In the 1970s where women are striving for equality in their roles, the film is about a trophy wife whose husband is a tyrannical boss of an umbrella factory where a worker‘s strike forces the wife to take over and change things. With the help of an old lover, she becomes a figure of hope for her small community as well as giving voice to the women around her world much to the chagrin of her husband who is striving to regain his role. It’s a film that plays into a world where a woman who enjoys being a caretaker of sorts until she is asked by a local mayor/former lover to handle a strike that could destroy the town. While her family and her husband don’t think she could handle all of that responsibility, she decides to disprove that in order to reveal why she should never be underestimated.

Francois Ozon’s screenplay definitely plays into the role of women in a crucial period in time where they’re demanding to have the same kind of equality in men. While Suzanne Pujol (Catherine Deneuve) seems to enjoy the role of being a trophy housewife, she is unable to deal with lack of her respect her husband Robert (Fabrice Luchini) treats her while her adult children in Joelle (Judith Godreche) and Laurent (Jeremie Renier) dismiss her opinions. When she is asked by the town’s mayor Maurice Babin (Gerard Depardieu) who is also a union leader, she does so as she improves things where Joelle and Laurent help her as does Robert’s secretary Nadge (Karin Viard) who decides to break off her affair with Robert. While there is a bit of a subplot involving Suzanne and Maurice’s old relationship as the latter still carries a torch for her, it does play into Suzanne’s growth as a character. Even in the third act where her husband’s return to the factory would have her do something that would define her more as a powerful woman.

Ozon’s direction definitely plays to a certain style that recalls some of the films of the 1970s where he aims for something that is very light-hearted and humorous. Notably in the comedy as it’s more subtle than slapstick as well as using flashbacks to express the youth that Suzanne has as well as the mystery about whether Laurent is really Robert’s son. There are also moments where Ozon just keep things simple in the compositions as well as some montages that play up the development of Suzanne’s life. There are also moments where Ozon uses TV stock footage to play up the sense of the times as it would upset Robert as he strives to regain some control. While it’s third act is a bit more dramatic in terms of what Robert does to regain his control, it does pick up the mood when Suzanne makes a decision that will show her growth as a woman. Overall, Ozon creates a very fascinating and delightful film about a woman’s desire for respect.

Cinematographer Yorick Le Saux does great work with the film‘s very stylish and colorful cinematography from the lush look of the film‘s daytime exteriors to the lighting in some of the film‘s interiors including the nightclub Suzanne and Maurice attend. Editor Laure Gardette does excellent work with the editing with the use of split-screens and montages along with rhythmic flairs to play up some of the humor and drama. Production designer Katia Wyszkop does amazing work with the set pieces from the look of the umbrella factory’s interiors to the Pujol home and the design of the umbrellas.

Costume designer Pascaline Chavanne does fantastic work with the costumes as it all plays to a particular sense of style of the times including the dresses that Suzanne wears. The sound work of Benoit Gargonne, Jean-Paul Hurier, and Pascal Jasmes is wonderful for the atmosphere that is created in the house and clubs along with some of the scenes at the town. The film’s music by Philippe Rombi is brilliant for its playful yet serene orchestral music that captures the sense of romance as well as some of its humor. The soundtrack consists largely of French disco music including the Bee Gees and a song sung by Catherine Deneuve.

The casting by Sarah Teper and Michael De Nijs is superb for the ensemble that is created as it features appearances from Evelyne Dandry as Suzanne’s sister, French pop singer Elodie Frege as the young Suzanne in the flashback scenes, and Sergi Lopez as a Spanish truck driver Suzanne gets a ride from late in the film. Karin Viard is wonderful as the secretary Nadge as she starts off as Robert’s mistress to a woman who takes control of her role as she becomes an ally of Suzanne. Judith Godreche is terrific as Joelle as a woman who is unsure about her mother taking over the business as she becomes conflicted over her loyalties. Jeremie Renier is excellent as Laurent as the son who also feels unappreciated by his father as he joins his mother where he helps give ideas into helping the business.

Fabrice Luchini is great as the very cruel and conniving Robert Pujol as a man who has little respect for people including his worker and his family as he struggles to regain control through schemes. Gerard Depardieu is marvelous as Maurice Babin as a union leader and local political figure who helps out Suzanne to stop the strikes while dealing with his own feelings towards her. Finally, there’s Catherine Deneuve in a delightful performance as Suzanne Pujol as a woman who feels unappreciated and underestimated by those around her as she is eager to prove herself that she isn’t some trophy housewife. Deneuve also displays some subtle moments of humor to showcase her very lively personality as it’s definitely one of best performances of her remarkable career.

Potiche is an extraordinary and splendid comedy from Francois Ozon led by the brilliant performance of Catherine Deneuve. Along with a wonderfully stylish look and a terrific supporting cast led by Gerard Depardieu. It’s a film that is very playful and witty while creating heartfelt message about the empowerment of women. In the end, Potiche is a marvelous film from Francois Ozon.

Francois Ozon Films: See the Sea - Sitcom -Criminal Lovers -Water Drops on Burning Rocks - Under the Sand - 8 Women - Swimming Pool - 5x2 - Time to Leave - Angel (2007 film) - Ricky - The Refuge - In the House - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #33: Francois Ozon

© thevoid99 2013

Life of Pi

Based on the novel by Yann Martel, Life of Pi is the story of a 16-year old boy who survives a freighter sinking as he’s on a lifeboat with a Bengal tiger as they trek on a journey in the sea. Directed by Ang Lee and screenplay by David Magee, the film explores the world of a young man’s survival and the bond he makes with his surroundings and with God. Starring Suraj Sharma, Tabu, Adil Hussain, Gerard Depardieu, Rafe Spall, and Irrfan Khan. Life of Pi is a lavish yet extraordinary film from Ang Lee.

The film is essentially the story of how a young 16-year old boy from India named Pi (Suraj Sharma) who survives 227 days in the Pacific Ocean after a freighter has been sunk where he’s on a lifeboat with a Bengal tiger named Richard Parker. Throughout the journey, Pi ponders about the spiritual world as he and Richard Parker try to live with each other on this lifeboat and survive as it is all told by the adult Pi (Irrfan Khan) to a writer (Rafe Spall). During the course of the film, Pi talks about his fascination with spirituality as a child and how it would impact the way he dealt with the situation of being stranded all alone in sea with a Bengal tiger.

David Magee’s screenplay does play into traditional narrative conventions as the first act is about Pi’s childhood and how he named himself Pi since he was originally named Piscine after a pool his father’s friend had been to in France. In this first act told by the adult Pi, Pi reveals a lot about his own fascination with different religions and the belief that things like animals have a soul. Of course, his father would show him a lesson about the way animals are as it would confuse the teenage Pi where he would fall for a beautiful young girl until his family decides to move to Canada on a freighter ship. The second act is about the time on the ship and the accident that leads to Pi being stranded on sea with a Bengal tiger.

Then the story starts to deviate a bit in terms of structure as there is thing long section about Pi’s time in the sea where there’s no voice-over narration or any kind of narrative device. It’s just about Pi and a tiger on a boat trying to survive and become companions in this adventure where they would encounter many mystical moments. The third act is about Pi and the tiger encountering more miracles that would test Pi’s faith and eventually his return to the real world. Still, it is told from this man’s perspective to a writer where he reveals what he gained from the experience but also what was lost.

Ang Lee’s direction is truly stylish in the way he presents the film as he goes for very different framing devices and aspect ratios as well as keeping things simple in the dramatic portions of the film. Largely in the scenes set in India and Montreal where Lee doesn’t go for a lot of visual tricks except for a few scenes that carries a lot of exposition into the origins of Pi’s name in scenes set in Paris though it’s shot at a soundstage in Taiwan. The rest of the film is shot in a soundstage with a water tank to explore Pi’s journey as it does feature a lot of computer-based visual effects to help tell the story. Yet, it manages to work in order for Pi to interact with this unique world in the sea filled with flying fishes and all sorts of creatures.

Some of the approach Lee uses in these visual-effects driven scenes allow Lee to play with different aspect ratios in order to create something that is stylish as well as playing around with the 3D technology. Though at times, it seems like Lee wants to unveil the advantages of 3D. It doesn’t really seem necessary as it still looks very good in the two-dimensional format. Notably in scenes such as Pi’s encounter with a mysterious island that he stops at where it would become a turning point on what he should do with the journey he’s taking in. Even as it would reveal a lot of ambiguities into the story that Pi is telling where it does end on a fitting note, despite being a bit over-drawn at times, about what Pi went through as well as how he was able to maintain his idea of spirituality. Overall, Lee creates a very fascinating and visually-marvelous film about survival and faith.

Cinematographer Claudio Miranda does brilliant work with the film‘s colorful photography from the beautiful scenes set in India to some of the more entrancing and colorful shots at the sea. Editor Tim Squyres does excellent work with the editing to play around with the film‘s structure and include a few montages as well as jump-cuts to play with the film‘s rhythm. Production designer David Gropman, along with supervising art director Dan Webster and set decorators Terry Lewis and Anna Pinnock, does amazing work with the set pieces from the French pool that Pi was named after to the scenes in India and Montreal as well as the island that Pi encounters.

Costume designer Arjun Bhasin does wonderful work with the costumes for the clothes that are worn in the scenes set in India and Paris. Visual effects supervisor Bill Westenhofer does some spectacular work with the visual effects from the look of some of the animals including the Richard Parker character in some parts of the film to the scenes in the sea including the fishes and whales. Sound editor Philip Stockton does superb work with the sound work from the way the freighter sinks in that big sequence to the more intimate scenes in the sea. The film’s music by Mychael Danna is terrific for its mixture of low-key orchestral and piano driven scores with exotic Indian music arrangements to play out the drama and mysticism of the film.

The casting by Avy Kaufman is fantastic for the ensemble that is created for the film. Among these notable small performances include Adil Hussain and Tabu as Pi’s parents, Shravanthi Sainath as Pi’s teenage girlfriend Anandi, Mohamed Abbas Khaleeli and Ayan Khan as Pi’s older brother Ravi in different ages, Andrea di Stefano as a priest that the young Pi meets, and Gerard Depardieu in a funny cameo as meat-loving cook. Rafe Spall is wonderful in a small but crucial role as the writer who listens to Pi’s story as he has to figure out what is the best story to tell. For the role of Pi, there’s four actors playing the role such as Gautam Belur as the five-year old Pi and Ayush Tandon as the 11/12 year old Pi where both of them give excellent performances. Irrfan Khan is great as the adult Pi who tells his life story with such sincerity as well as a bit of humor into a man who knows he went through a lot. Finally, there’s Suraj Sharma as 16-year old Pi as Sharma gives a remarkable performance as a young man dealing with his situation and the journey he encounters as well as the Bengal tiger that he grows to love in this journey.

Life of Pi is a spectacular and enchanting film from Ang Lee. Featuring a captivating breakthrough performance from Suraj Sharma and an engaging story about faith and humanity. The film is definitely a film that features amazing visuals as well as themes that is very universal to a wide audience. In the end, Life of Pi is a tremendous film from Ang Lee.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - Sense & Sensibility (1995 film) - The Ice Storm - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Hulk - Brokeback Mountain - Lust, Caution - Taking Woodstock - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

© thevoid99 2012

Jean de Florette

Based on Marcel Pagnol’s novel, Jean de Florette is the story about two men who try to trick a man over the land he had just inherited. Directed by Claude Berri and screenplay by Berri and Gerard Brach, the film explores the world of rural France after World War I as it explores the cruelty of men in their greedy desire for land. Starring Gerard Depardieu, Yves Montand, and Daniel Auteuil. Jean de Florette is a captivating film from Claude Berri.

Returning from military service to the small village of Provence, Ugolin Soubeyran (Daniel Auteuil) arrives at the farmland that is owned by his uncle Cesar (Yves Montand) as he presents his uncle with a profitable idea. Bringing in some carnation roots to grow where he manages to sell them for a good price, the two realize that the only way to make more money is to get the land nearby that is owned by a man named Pique-Bouffigue (Marcel Champel). When he refuses as he insults the Soubeyran family name, Cesar fights Pique-Bouffigue that leaves him dead. For Cesar, he hopes that relatives will sell the land so he can buy it off only to learn that Pique-Bouffigue’s nephew Jean (Gerard Depardieu) has inherited the land as he brings his wife Aimee (Elisabeth Depardieu) and their daughter Manon (Ernestine Mazurowna) to the land.

Having already blocked the water spring near the land, Cesar devises for Ugolin to befriend Jean and his family as Ugolin learn of Jean’s plans for the land. With plans to breed rabbits and grow vegetables in the land, Jean hopes to make a profit for the next few years. The only problem is that they don’t have lot of water in the land as they trek down a place owned by an Italian couple who have access to the water spring. Though things start off well at first despite the lack of water in their well, things eventually go bad due to a heat wave as Jean and his family force to trek downhill very often to get water which is bad for Jean’s humpback. After some trials and tribulations which makes Cesar excited, Ugolin goes to Jean’s land where he learns about another plan for Jean to get water for his land. What would happen would have some repercussions for all involved.

What happens when a couple of men conspire to gain a plot of land for their own reasons when they contend with a man from the city who has more honorable plans of his own? That is the idea of this story as it involves a man and his uncle hoping to use this land for their own ideas as they know about a secret water spring that they hope to use to help grow their carnations. After accidentally killing the land’s original owner where they hope to buy it from relatives, all of that changes when it is inherited by that man’s nephew who is this city tax collector hoping to start a new life as a farmer. This would force a man and his uncle to do things to make sure this man fails in his endeavors and get the land any way they can.

The screenplay explores the world of greed and cruelty in the hands of these two men though the character of Ugolin is the one who later becomes conflicted in his role to befriend Jean. In fact, he realizes that Jean isn’t a bad man yet Ugolin couldn’t be too friendly as he often makes excuses to not lend Jean his mule so that Jean can carry lots of water for his well. Then there’s Jean as he’s just a man wanting to start a new life where he can live comfortably as a farmer with his family. Yet, he’s an outsider to this small village who are suspicious of his intentions when he really just wants to be part of their community. He’s also a spiritual man as he prays to God for small things including rain for his crops. What would happen would push Jean to the edge as he becomes more desperate to cling on to the land that his mother was born in.

Claude Berri’s direction is definitely mesmerizing for the way he presents the film as this intimate period piece with gorgeous wide shots of the locations. He also set up shots that would later establish key moments that would become more important as the story progresses. Berri also maintains an intimacy with some close-ups and unique camera angles to help say something in these images as he’s always wanting to see how Jean would succeed as well as create tense moments where Jean is failing. Berri also maintains an air of suspense to see what will happen as the film’s third act explores Jean’s failures but also his desire to not quit. What would happen would lead to an ending that would set the course for the next part of the story in Manon des Sources. Overall, Berri creates an exhilarating yet poignant story of greed and humanity.

Cinematographer Bruno Nuytten does brilliant work with the cinematography from the gorgeous, naturalistic camera work of the exterior locations to the intimate lighting in the film‘s interiors along with a lovely sepia-awash look for the dust-wind scene. Editors Noelle Boisson, Sophie Coussein, Herve de Luze, Jeanne Kef, Arlette Langmann, Corinne Lazare, and Catherine Serris do terrific work with the editing by creating some wonderful montages and using other stylish cuts to help move the film‘s structure and transitions. Production designer Bernard Vezat does excellent work with the set pieces such as the farms of the Soubeyran land as well as the wonderful farm land that Jean had set up.

Costume designer Sylvie Gautrelet does nice work with the period costumes from the rich clothes that Jean wears to the more rural clothes that everyone else wears. Sound editor Eric Mauer does superb work with the sound from the atmosphere of the exterior locations to some of the chaos in the bars that Cesar hangs out at. The music by Jean-Claude Petit is wonderful for its soaring orchestral score that plays out all of the drama and light-hearted moments of the film while the music also features excerpts from Giuseppe Verdi’s La forza del destino for more dramatic moments of the film.

The film’s cast is amazing for the ensemble that is created as it features some notable small roles from Margarita Lozano as the old Italian lady who lives near the water spring, Marcel Champel as Pique-Bouffigue, and Ernestine Mazurowna as the young Manon who doesn’t seem to trust Ugolin. Elisabeth Depardieu is wonderful as Jean’s wife Aimee who deals with Jean’s obsession to maintain the land as well as the sacrifices that she makes. Daniel Autieul is great as Ugolin Soubeyran as he befriends Jean in order to see what he’s doing as he later gets into his own conflict over the real reasons why he’s doing it. Yves Montand is incredible as the conniving Cesar Soubeyran who tries to ensure that Jean will fail for his own means while instructing his nephew on what to do. Finally, there’s Gerard Depardieu in a brilliant performance as Jean Cadoret as Depardieu brings a lot of enthusiasm to a man intent on creating a new life for himself while dealing with the struggle that he faces as it’s one of Depardieu’s great roles.

Jean de Florette is a marvelous film from Claude Berri that features top-notch performances from Gerard Depardieu, Yves Montand, and Daniel Autieul. The film is definitely a very intriguing piece about the world of greed and deceit as well as an engaging period film that features a character everyone wants to root for. In the end, Jean de Florette is a radiant yet mesmerizing film from Claude Berri.

Claude Berri Films: (The Chicken) - (The Two of Us) - (So Long, Stooge) - Manon des Sources - (Uranus) - (Germinal) - (Lucie Aubrac) - (Hunting and Gathering)

© thevoid99 2012

La Vie En Rose

Originally Written and Posted at Epinions.com on 12/20/07.

The name Edith Piaf to the French is a name they all know as the late singer is a beloved icon who sings songs of heartbreak and tragedy. Though her death at the age of 47 in 1963 was a sad moment, she was still beloved by her country as her fame had also grown around the world and in the U.S. during World War II despite singing for German forces in occupied France while she claimed she was supporting the resistance. In 2007, a film bio-pic was made about her life named after one of her most beloved songs entitled La Vie En Rose.

Directed by Olivier Dahan with a script he wrote featuring additional dialogue from Isabelle Sobelman based on numerous books. La Vie En Rose is the story Piaf's life from the streets of Paris to the world as she gained fame and infamy through her tumultuous life. Playing the role of the legendary singer is Marion Cotillard who had been previously seen in Tim Burton's Big Fish, Jean-Pierre Jeuneut's A Very Long Engagement, and Ridley Scott's A Good Year. Also starring Emmanuelle Seigner, Jean-Paul Rouve, Clotilde Courau, Sylvie Testud, and Gerard Depardieu. La Vie En Rose is an enthralling, enchanting portrait of one of France's enduring icons.

It's 1959 as Edith Piaf is in New York City singing but her health problems have finally caught up to her due to an addiction to injections. After collapsing, Piaf is sent to return home to France with her American boyfriend Doug (Harry Hadden-Paton) where she parties and makes more appearance before a car crash that killed Doug and left her injured. A few years later in 1963, the very ill Piaf reflects on her life as she recalls the time as a child (Manon Chevallier) living in the poor streets of Paris as her mother Anetta (Clotilde Courau) abandons her for a singing career. Forced to live with her maternal grandmother, her father Louis (Jean-Paul Rouve) returns from the war and takes her to live with his mother Louise (Catherine Allegret) who houses prostitutes. With Louis leaving for his job at the circus, Edith is in the care of her grandmother along with fellow prostitutes including Titine (Emmanuelle Seigner) who treats her like her own daughter.

When the young Edith is suffering from a disease that nearly caused her to go blind, it is with the help of the angel Therese that would make her eyes heel as her father would return to take her to his circus tour. For the next few years until she was 10 (Pauline Burlet), her father, who is a contortionist, quits the circus to go alone where he would find something in Edith's voice as she starts to sing. Years later in the mid-1930s, Edith is still a street singer singing for food and such with help from Momone (Sylvie Testud). During one day singing at a street corner, Edith suddenly gets the attention of a club owner named Louis Leplee (Gerard Depardieu) who books her at his club and brings her attention. Things go great until his sudden death in connection with the mob whom Edith is unaware she’s connected with. After that brief period of scandal, Edith is helped by her songwriter Marguerite Monnot (Marie-Armelle Deguy) and a new manager named Raymond Asso (Marc Barbe), Edith's fame rose.

In 1949 with a new manager in Louis Barrier (Pascal Greggory), she arrives to New York City where she falls for a French boxer named Marcel Cerdan (Jean-Pierre Martins) as they go on a date despite the fact he's married. Just as her life and fame was growing, tragedy would struck as Edith's life is suddenly in turmoil. After getting married and still touring the U.S., Edith's world starts to lose control as the Edith in her final years reflect on things she lost and such as she then recalls the final moment she sang to an audience.

With movies about singers starting to wear thin a bit with the typical cliche. Director and co-screenwriter Olivier Dahan wisely chose to not go convention by taking the film approach by taking the story back and forth to Piaf's own life from her final moments to her childhood to her last days, and so on. While that approach might take general audiences to be baffled by this approach, it works to tell the story of Piaf though some stories about her life are left out. Something that's likely to upset Piaf's hardcore fans but still, there's enough for them to watch and listen to. The structure of the script and Dahan's stylish direction works to reveal her humble beginnings, her discomfort towards worldwide fame, and notorious affairs including the one with Marcel Cerdan. Dahan's stylish direction definitely works to reveal the world that Piaf is in as it strays from becoming a bio-pic that is seen now lately in a lot of films. Yet, Dahan does fantastic work with the film and telling Piaf's story from her triumphs and tragedy.

Cinematographer Tetsuo Nagata does some great work with the film's tinted look of blue-green exterior shots in the streets of Paris and some of its country exteriors in Normandy to the more sepia-toned look for the film's interiors to convey the 40s-50s look of Paris and the U.S. Nagata's photography may be emphasized on style but it works to convey that dream-like look. Editor Richard Marizy does excellent work with the film's pacing that is very leisurely while using cuts to convey the moments of drama in Piaf's own life. Production designer Olivier Raoux does fantastic work in the design of the clubs and music halls that Piaf sings to the various environment she is in. Costume designer Marit Allen is also great for the look of Piaf's slender, thin dresses that she is famously is known for. Sound editor Pascal Villard does some wonderful work in capturing the sense of atmosphere in the music halls and clubs while conveying each moment in time.

Visual effects supervisors Seb Caudron and Hugh Welchman help in creating the film's look with its re-imagining of 1940s-1950s New York and Paris and the boxing scene as well. Music composer Christopher Gunning brings a plaintive yet dramatic score led by piano to emphasize the dramatic journey of Piaf's life. The rest of the music is largely driven by many of Piaf's famous songs that are played throughout the entire film that works for the film.

The film's cast is brilliant with small yet memorable performances from Andre Penvern as Jacques Canetti, Mario Hacquard as Charles Dumont, who are both two of Piaf’s songwriters, Marie-Armelle Deguy as Marguerite Monnot, Harry Hadden-Paton as Doug, Caroline Raynaud as Piaf's friend Ginou, Catherine Allegret as Edith's grandmother, Clotilde Courau as Edith's neglectful mother, and Jan-Paul Rouve as Edith's supportive father. Marc Barbe is excellent as Raymond Asso, Edith's manager who would make her sing with discipline while Pascal Greggory is brilliant as Louis Barrier, her manager to the end as he contends with her declining health. Sylvie Testud is good as Momone, Edith's street friend who just likes to drink with her while dealing with the presence of Marcel Cerdan. Jean-Pierre Martins is wonderful as the late Marcel Cerdan who charms Edith while becoming the love of her life for a brief moment.

In the child roles of Edith Piaf, Manon Chevallier and Pauline Burlet are great in conveying her innocence with Burlet doing the singing as the 10-year old Piaf. Emmanuelle Seigner is great as the prostitute Titine who becomes an unlikely maternal figure for Edith as a child. Gerard Depardieu is brilliant as Louis Leplee, the man who would discover Edith and become a father figure to her as he would pave the way for her brilliant career. Finally, there’s Marion Cotillard in what has to be a true, star-making performance as Edith Piaf. Cotillard's performance is spellbinding as she conveys the innocence of Piaf in her early years as well as her wild, drunken persona. In the other half of the film, Cotillard displays all of Piaf's performance mannerisms as well as her loud, drunken, diva-like behavior as it's shocking to see that it’s the same woman as Cotillard's performance is truly amazing.

The Region 1 DVD that presents the film in aspect ratio of 2:35:1 anamorphic widescreen with 5.1 Surround Sound in French that includes English, French, and Spanish subtitles. The only special feature, that is with optional English and Spanish subtitles, is a 10-minute special entitled Stepping Into Character is about Marion Cottilard's transformation into playing Edith Piaf in which the actress had to shave her eyebrows and the front parts of her hair while wearing loads of makeup for the character. Director Olivier Dahan talks about trying to convey each period of Piaf's life from her frizzy look early on to the regality of her great years to the decline where she has orange hair and such. It's a fine bonus feature on the DVD.

La Vie En Rose is an excellent and enchanting film from Olivier Dahan led by Marion Cottilard's performance. Those who don't know or barely know who Edith Piaf is will definitely have the urge to find her songs after this film. With film bio-pics about singers and musicians starting to become formulaic, credit goes to Dahan for not delving into conventions while giving audiences something to enjoy. For Marion Cottilard, this is truly a performance that will hopefully get some attention that is deserved. In the end, La Vie En Rose is a wonderful film to see.

(C) thevoid99 2011

Mon oncle d'Amerique

Directed by Alain Resnais and written by Jean Gruault that is based on the writings of Henri Laborit, Mon oncle d’Amerique (My American Uncle) is the story of Laborit’s exploration into the lives of three different people as they all become studies of Laborit’s social experiment. One has a man leaving his family farm for a more corporate lifestyle while a woman becomes an actress and has an affair with an upper-class writer. Starring Gerard Depardieu, Nicole Garcia, Roger Pierre, and Henri Laborit as himself. Mon oncle d’Amerique is an intriguing yet stylish drama from Alain Resnais.

For Henri Laborit’s study of behavior and its impact, he takes on three different subjects for this experiment. The first is a man named Rene (Gerard Depardieu) who lived his life as a farm boy and was raised to live a life of hard work and such. When he leaves the world of farming with his girlfriend Therese (Marie Dubois), he later becomes an accountant for a small textile firm to become a success and has a family. Then when a merger is happening as a man named Veestrate (Gerard Darrieu) is observing the firm, Rene finds himself being threatened with new changes in his life.

The second subject is a woman named Janine who leaves a life being raised by Communist parents to become an actress. After succeeding, she meets the third subject in a political minister named Jean (Roger Pierre). The two have an affair as Jean is trying to create a book based on his own childhood experiences with his grandfather. When Jean leaves his family to be with Janine, Jean’s health starts to get troubles until Janine meets with Jean’s wife Arlette (Nelly Borgeaud) with some news. When Janine ends the affair, she doesn’t see Jean for two years as they see each other at the island Jean had spent his childhood at. Yet, things become complicated as Janine has a new job where she has a meeting with Rene about his new job that would eventually make some big changes for the three subjects.

The film is essentially a multi-layered study about three people making decisions that would change their lives as Henri Laborit studies them and see how humans behave through the situations they’re in. Throughout the film, the narrative shuffles into three or four different storylines with Laborit serving as a narrator to all that is happening along with voice-over narrations from the subject themselves about their own backgrounds. Eventually, the narratives would mesh into two as Janine is the only that interacts with the other two subjects in the film.

Jean Grualt’s screenplay allows the different narratives to cross-cut with one another in order to emphasize Laborit’s study and to compare the three different backgrounds of these individuals. Rene is from a farm as he starts off in a life of hard work and having a religious background while dealing with the fact that his father and uncle have a hard time dealing with the progressing times. When Rene takes on a corporate life where he lives comfortably, that life is threatened by different ideas of change of his own as he finds himself given offers that he couldn’t refuse but remains unsure about his duties. Then there’s Janine and Jean, two people from very different backgrounds who get together for large portion of the film’s second act. Janine comes from a working class family that supports Communism while Jean is from a rich family whose grandfather takes him to an island to study nature.

The film’s title refers to a story that Jean read as a kid thinking that an American uncle has left treasure somewhere in the island he often goes to. Yet, it’s all about the idea of memory as it’s one thing in his childhood Jean clings to as he shares it with Janine late in the film. Their relationship is based on their interest towards each other as Janine would later feel guilty over the fact that Jean leaves his family. It all goes back to Laborit’s decision over the way he studies human behavior and the decisions they make as it comes down to this third act where Janine would briefly meet Rene. By this time, Janine’s life has changed in the two years she had left Jean where the meetings she would make would have an impact on the other subjects she encounters. The script is definitely complex for this study but also doesn’t become boring for the way it’s presented.

Alain Resnais’ direction is truly mesmerizing for the way he presents the film and cross-cutting through the different narratives in the film. For a lot of the dramatic moments, there is a way Resnais would show scenes in different perspectives from where it’s actually happening or how it’s reflected in Laborit’s study. The scenes with Laborit’s allows him to comment on what is happening as he uses lab rats for example where the actors would later dress up as rats to exemplify his point. Meanwhile, each subject draws upon three iconic actors as inspirations. For Jean, it’s Danielle Darrieux while Janine’s inspiration is Jean Marais, Rene is in Jean Gabin. The footage of the actors Resnais chooses would enhance the feelings and emotions that the three subjects are dealing with.

Throughout the film, the subjects are placed into different tests which would impact the development of the film. For Janine, it’s all about what to do when she’s confronted by Arlette and the decision that she would make. For Jean, it’s about what to do once he sees Janine again and what should he do. For Rene, it’s about taking a prestigious job offer that would threaten the comfort of his life. Resnais maintains a controlled intimacy to these dramatic moments while creating some startling compositions for the way they react to their surroundings. Yet, they would all be confronted by some person who is trying to get them to lose control. While it’s a film that does start off in a very difficult manner due to its cross-cutting approach. The overall film is truly a haunting yet exhilarating portrait of human nature from Alain Resnais.

Cinematographer Sacha Vierny does a superb job with the film‘s cinematography from the colorful look of the scenes where Janine acts on stage to the more naturalistic yet lush look of the film for many of its exterior locations. Editor Albert Jurgensen does a great job with the film’s unconventional editing approach with its rhythmic cuts to cross-cut from one story to another without moving too fast. The editing also works for creating montages to compare and contrast between the behaviors of the lab rats and the main subjects in the conflict they deal with as the editing is a major highlight of the film.

Production designer Jacques Saulnier does an excellent job with the differing set pieces created such as the posh world of Jean and the working world that Rene and Janine delve into as well as the set pieces created for Janine‘s stage career. Costume designer Catherine Leterrier does a fantastic job with the dresses that Janine wears on and off-stage as well as the suits the men wear. The film’s score by Arie Dzierlatka is wonderful for its varied arrangements from somber yet broad orchestral pieces to more low-key pieces for some of the dramatic moments on the film.

The casting for the film is incredible that features appearances from Jean Daste as Rene’s boss, Alexandre Rignault as Jean’s grandfather, Laurence Badie as Veestrate’s wife, Bernard Malaterre and Laurence Roy as Jean’s parents, Veronique Silver and Jean Lescot as Janine’s parents, Genevieve Mnich and Maurice Gauthier as Rene, and Gerard Darrieu as the cold Veestrate. For the roles of the younger versions of the subjects, Ina Bedart and Stephanie Loustau as the younger versions of Janine, Guillaume Boisseau and Damien Bossieau as the young Jean, and as the younger versions of Rene, Ludovic Salis and Francois Calvez as they all give terrific performances.

Marie Dubois is very good as Rene’s supportive though grounded wife Therese as is Nelly Borgeaud as Jean’s more dramatic wife Arlette. Henri Laborit is excellent as himself by being calm and relaxed throughout the entirety of the film. Roger Pierre is brilliant as Jean, a bourgeois minister whose life is shaken by his affair with Janine as well as dealing with the fact that he is trying to finish a book that he’s wanted to do for many years. Gerard Depardieu is great as Rene, a farm boy turned textile firm accountant whose life unravels by changing times and uncertainty over the decisions he’s making. Finally, there’s Nicole Garcia in an amazing performance as Janine. Garcia’s performance is filled with the anguish and radiance of a woman trying to please Jean while fulfilling her own ambitions as it’s a truly mesmerizing performance.

Mon oncle d’Amerique is a phenomenal film from Alain Resnais that features an amazing cast led by Nicole Garcia, Gerard Depardieu, Roger Pierre, and Henri Laborit. While it’s not an easy film to follow and it is very unconventional, it is a very fascinating film about the studying of human behavior and ambition. The film is one of Resnais’ finest films for the way he plays with conventional storytelling and the study of characters through the situations they go through. In the end, Mon oncle d’Amerique is a superb yet provocative film from Alain Resnais.

Alain Resnais Films: Night and Fog - Hiroshima Mon Amour - Last Year at Marienbad - (Muriel) - (The War is Over) - (Je T’aime, je t’aime) - (Stavisky) - (Providence) - (Life is a Bed of Roses) - (Love Unto Death) - (Melo) - (I Want to Go Home) - (Gershwin) - (Smoking/No Smoking) - (Same Old Song) - (Not on the Lips) - (Private Fears in Public Places) - Wild Grass - (You Haven’t Seen Anything Yet) - (Life of Riley)

© thevoid99 2011

The Last Metro

Directed by Francois Truffaut and co-written with Suzanne Schiffman, Le Dernier Metro (The Last Metro) is the story of a woman trying to hide her Jewish husband in a theater that they own during the German’s occupation of France in World War II. During this hideout, the woman tries to keep the theater going as she falls for an actor in a production they’re working on. Starring Catherine Deneuve, Gerard Depardieu, Heinz Bennent, and Jean Poiret. Le Dernier Metro is a glorious period film from Francois Truffaut.

It’s 1942 as the Germans have occupied France as rumors emerged that renowned theater director Lucas Steiner (Heinz Bennent) has fled France leaving his prestigious theater in the control of his wife Marion (Catherine Deneuve) and another theater director in Jean-Loup Cottins (Jean Poiret). Marion and Jean-Loup have been given instructions to run a new play called The Woman who Disappeared with notes from Steiner as they work with their regular group of workers and actors. One of the new arrivals is Bernard Granger (Gerard Depardieu) who has been a fan of the theater and wants to act as he successfully gets an audition.

While Marion is trying to deal with notorious critic Daxiat (Jean-Louis Richard), she also has been secretly hiding Lucas in a cellar under the theater so he can hear what is going on. With plans for Lucas to flee to Spain has failed, he decides to help out by giving notes in secrecy to Marion as he hears the rehearsals. With Bernard becoming the perfect leading man for Marion, he also secretly helps out a man named Christian (Jean-Pierre Klein) with work for the Resistance. Still, Bernard manages to win over the people as he tries to flirt with the women including young actress Nadine (Sabine Haudepin) and the set/costume designer Arlette (Andrea Ferreol).

With opening night happening and everyone nervous, the play ends up being a big success though Daxiat’s review was not surprisingly well-received. Though Bernard received praise in his review, he confronted Daxiat as he gets himself in trouble with Marion. With the play still going on as Marion becomes distanced towards Bernard, trouble brews as Gestapo forces are wondering if Lucas had really disappeared. When Bernard reveals to Marion about his involvement with the Resistance, she reveals the secret about Lucas as the three figure out what to do. With Bernard set to leave to join the Resistance and the theater in trouble due to Daxiat’s political connections, Marion begins to realize her feelings towards Bernard as the two try to come to terms with it.

The film’s title refers to the last subway train ride before curfew is imposed by the Nazis during their occupation of France in World War II. Yet, there’s brief mentions about that though it is really about an actress, her husband, and a group of people working at the theater trying to keep it going amidst the chaos of World War II. With help of a new actor, who is involved with the Resistance, a love triangle does start to emerge between this new actor, the leading lady, and her husband who is hiding at a cellar. Yet, Francois Truffaut doesn’t make the film about the love story but rather what these three people and various others do to keep this play together for the people of France in this time of trouble.

Truffaut and co-writer Suzanne Schiffman create a script that allows the audience to see how a play is created as well as the people involved in making it. Aside from the three principle characters, other characters such as the young ingenue, a new director, the costume/set designer, an elderly assistant named Germaine (Paulette Dubost) and a handyman named Raymond (Maurice Risch) help out in creating this play. Though no one knows about the fact that Lucas Steiner is under the stage listening to everything until Bernard learns about it late in the film. It’s as if they’re trying to keep things forward as if he is still there while dealing with a notorious critic and the Nazis who are trying to bring trouble.

Throughout the story, there are things that goes on that does play out casually about the creation of a play where Bernard tried to flirt with a few women while he would have these secret meetings with a Resistance agent. At the same time, there’s little moments throughout the story about how sets are made while Lucas gives out notes to Marion as he listens in. The script allows the characters to be more than who they are while there’s moments of frustration and anguish that goes on. Notably when everyone is trying to deal with the Nazis as they’re forced to not hire Jews though a young girl creating costumes does get a job in secrecy. The script is truly superb for the characters that is created as well as the situations that happens as well as the planning of the play.

Truffaut’s direction is truly potent in the way he creates a film that is about the creation of a play during World War II in occupied France. While it’s shot in a theater with some set pieces recreated for the period, Truffaut creates an intimacy to the direction where he lets the audience be engaged by what is happening. At the same time, he underplays the drama by letting things be a bit more upbeat except in more intense dramatic moments in the film. Particularly as the film has Nazis around though there are no scenes of violence except what is mentioned on paper and on the radio.

The scenes of the play does have a theatricality that is very entrancing to the way Truffaut and his actors tell the story of this woman haunted by the appearance of her son’s tutor. The staging and presentation is very haunting while the stuff that goes on from the audience and backstage makes it very interesting about their reaction. Even as the curtains close to see how the actors feel about each other or what is going on around them. There is a great sense of rhythm to how Truffaut plays up to the small amount of suspense as well as playing to the sense of longing in the way Marion and Bernard look at each other from afar. Overall, Truffaut creates a film that is enchanting for its gorgeous presentation and heartfelt approach to storytelling.

Cinematographer Nestor Almendros does a superb job with the film‘s lush yet colorful cinematography. Almendros’ exquisite work plays to the look of the red curtain for many of the scenes in the theater while creating a mix of gray and black with bits of color for the exteriors outside of the theater. For some dark interior scenes, Almendros’ approach to lighting by using candles or little electric lights allow the film to maintain a sense of beauty that is truly magical as his work is truly the film’s technical highlight. Editor Martine Barraque does an excellent job with the editing as she presents a very straightforward approach to the cutting while using fade-outs for the some of the films’ transitions.

Production designer Jean-Pierre Kohut-Svelko does a great job with the set pieces created for the stage play as well as the look of the theater and hangouts the characters go to. Costume designer Lisele Roos does a spectacular job with the clothes that includes the dresses the women wear including the more posh look of Marion with her fur coats and the red dress she wears for the play. The sound work of Michel Laurent and Michel Mellier is brilliant for the intimacy that is created on the stage to the sirens heard for air raids that pops up a few times in the film. The film’s score by Georges Delerue is wonderful for the wide range of moods it creates from some light-hearted moments with upbeat orchestral arrangements to a more ominous theme for scenes involving Bernard’s work with the Resistance and scenes relating to the Nazis.

The casting for the film is amazing with the ensemble that is created as it includes some appearances from Laszlo Szabo as a Nazi lieutenant, Richard Bohringer as a Gestapo officer, Jessica Zucman as the young Jewish costume maker Marion secretly hires, Martine Simonet as a black-market woman Raymond meets, Henia Suchar as Marion’s hotel chambermaid, Renata Flores as a German singer at a club, Franck Pasquier as a child actor in the play, and Jean-Pierre Klein as Bernard’s Resistance contact Christian. Other notable small yet memorable supporting roles include Maurice Risch as the funny yet loyal technician Raymond, Paulette Dubost as Marion’s elderly yet kind assistant Germaine, and Jean-Louis Richard as the politically-connected critic Daxiat.

Sabine Haudepin is very good as Nadine, a young ingenue who is trying to maintain her loyalty to the company while dealing with the numerous job offers she’s getting. Andrea Ferreol is wonderful as Arlette, the set/costume designer who tries to deal with the flirtations of Bernard as well as the demands of the play. Jean Poiret is excellent as Jean-Loup Cottins, the play’s director who tries to deal with the presence of Daxiat as well as trying to get the play in the same vision of Lucas Steiner. Heinz Bennent is superb as Lucas Steiner, a revered Jewish playwright who is forced to hide as he listens from a cellar on the rehearsals of his own play while dealing with the fact that he’s isolated with only Marion to talk to.

Finally, there’s the duo of Gerard Depardieu and Catherine Deneuve as they each give incredible performances in the respective roles of Bernard and Marion. Depardieu displays a wonderful sense of charm and sensitivity to a man who loves to act but also tries to deal with his role working with the Resistance. For the stage performance, Depardieu brings a very restrained yet hypnotic approach which really shows the complexity of his range as an actor. Deneuve gives a truly elegant performance of a woman dealing with everything as she also tries to help her husband in his isolated state. Deneuve also creates a stage performance that intense in its melodrama while proving to be very tough. While Deneuve has great rapport with her other actors, the scenes she and Depardieu have are magical as they really work off each other and seem to enjoy themselves as they’re a major highlight of the film.

Le Dernier Metro is a sensational yet entertaining film from Francois Truffaut. Featuring a top-notch ensemble cast led by Catherine Deneuve and Gerard Depardieu as well as great technical work led by Nestor Almendros’ rich cinematography. It is truly one of Truffaut’s finest films in his revered career for the way he creates a World War II period piece and making it into a compelling dramatic film. While it may not have the looseness of his early films of the 1960s, it is a film where Truffaut has refined his technique to bring something more to a World War II drama. In the end, Le Dernier Metro is a mesmerizing film from the late, great Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Woman Next Door - Confidentially Yours

(The Auteurs #40: Francois Truffaut (Pt. 1) - (Pt. 2))

© thevoid99 2011