2023 Blind Spot Series: India Song

 

Written and directed by Marguerite Duras that is based on her unproduced play and the novel Le Vice-Consul, India Song is the story of a promiscuous wife of a French ambassador in 1930s India as she deals with its lack of emotional fulfillment as well as the appearance of an old lover. The film is an exploration of a woman’s unhappy life as she deals with the presence of a former lover as well as the chaos surrounding around her. Starring Delphine Seyrig, Michael Lonsdale, Matheiu Carriere, Claude Mann, Vernon Dobtcheff, Didier Flamand, and Claude Juan. India Song is a majestic yet unconventional film from Marguerite Duras.

Set in late 1930s Calcutta at the French embassy, the film follows the wife of a French ambassador as she goes through boredom as she surrounded by different lovers at the embassy while also dealing with the arrival of a former lover. It is a film that plays into the life of this woman who feels trapped by her surroundings as well as the voices that loom throughout the house as she juggles her many affairs as well as shielding herself from the outside world including India. Marguerite Duras’ screenplay is largely minimalist as much of the film is told through voice-over monologues and dialogues that would dominate the film as it play into the emotions of the characters that spend a lot of time at the embassy and its grounds. They also deal with the voices from outside of the embassy such as an old beggar woman where much of the time has these people having small parties and such as well as walking in the grounds at the embassy.

Duras’ direction is stylish for not just her unconventional approach to voiceovers but also in the fact that much of the film for its first two acts is set inside this house and the grounds outside of the home. Shot on location at the Chateau Rothschild in Boulogne, France with areas outside of the chateau include the Grand Trianon at Versailles and two interior shots at apartments in Paris. Duras does use the location as this world that is ever-changing with an abandoned tennis court, a pond, and other places as if it’s going into ruins as well as not being tended to due to the lack of interest of those living at the embassy. The sense of ennui that looms throughout the film including its main protagonist in Anne-Marie Stretter (Delphine Seyrig) as she wanders around the house either in a lavish dress or in a robe. Even as there’s a shot where she and two of her lovers are lying on the floor sleeping with her right breast exposed from her robe as her former lover in the Vice-Consul of Lahore (Michael Lonsdale) watches from afar.

Duras’ direction also has these unique compositions while there are very little close-ups she uses in favor of these striking compositions in the medium and wide shots of the rooms an exteriors of the embassy. Even as the way Duras would have the actors appear in a shot and at a certain place in the frame as there’s an intricacy and attention to detail she would put into these shots. Even as it plays into this sense of disconnect with what is happening outside of the embassy where they spend much of the time at the embassy with voices playing to what is happening outside of the world as it relates to the idea of colonialism and France’s decline in that world. The film’s third act has a moment where all of the characters take a break from being in the embassy to go to a hotel to eat lunch where everyone is wearing some form of white with the exception of one character who is wearing the same clothes throughout the entirety of the film. It all plays into this sense of reality that everyone is dealing with as well as Stetter who becomes aware that her time in India within the home that she’s been living is running out. Overall, Duras crafts a haunting yet ravishing film about an ambassador’s wife growing sense of ennui at the French embassy in late 1930s Calcutta.

Cinematographer Bruno Nuytten does brilliant work with the photography as it largely emphasizes on low-key lighting and other stylish lighting for many of the scenes in and out of the embassy as it plays into this sense of artificiality these people are living in while the third act would showcase elements of natural lighting for some of its exteriors. Editor Solange Leprince does excellent work with the editing as it is largely straightforward by allowing shots to linger for more than a few minutes while the editing would be more abrupt in a few places for dramatic effect. The sound work of Antoine Bonfanti and Michel Vionnet is incredible for the mixing of the voice overs and the music as well as playing into this haunting atmosphere into the home that these characters are in. The film’s music by Carlos d’Alessio is wonderful for its low-key orchestral score while much of its music soundtrack features a lot of the music that was prevalent during those times.

The film’s superb ensemble cast as it features an array of voice actors including Marguerite Duras providing voices that would be prevalent during the film while other small roles include Claude Juan as the domestic who works at the embassy, Didier Flamand a young guest whom Stretter takes a liking to, and Vernon Dobtcheff as a government official in Georges Crawn who is also another lover of Stretter. Claude Mann and Matheiu Carriere are excellent in their respective roles as the official Michael Richardson and the embassy’s young attaché` as two of Stretter’s lovers with the former being a married official who could help her socially while the latter is someone who also spends time with Stretter and keep her attention at bay.

Michael Lonsdale is brilliant as the Vice-Consul of Lahore as a former lover of Stretter who had been exiled to India following an incident as he is someone eager to resume their old affair while being anguished over their break-up many years ago. Finally, there’s Delphine Seyrig in a phenomenal performance as Anne-Marie Stettler as the wife of India’s French ambassador as a woman who has many lovers but has become bored by her lifestyle while dealing with a world that is becoming chaotic. Even as she becomes unfulfilled by her many affairs while is clinging on to this lifestyle that is disconnected from the world including France’s own decline in their colonial powers as it is one of Seyrig’s finest performances.

India Song is an incredible film from Marguerite Duras that features a radiant leading performance from Delphine Seyrig. Along with its supporting cast, rapturous visuals, eerie sound design, and an exploration of a lifestyle that has gone past its due date during a tumultuous time in India and the rest of the world. It is a film that isn’t easy to watch in terms of its unconventional presentation yet it is rewarding for showcasing a woman and the world she couldn’t break away from. In the end, India Song is a sensational film from Marguerite Duras.

Marguerite Duras Films: (La Musica) – (Destroy, She Said) – (Jaune le soleil) – (Nathalie Granger) – (La Femme du Gange) – (Her Venetian Name in Deserted Calcutta) – (Entire Days in the Trees) – (The Lorry) – (Baxter, Vera Baxter) – (Les Mains negatives) – (Cesaree) – (Le Navire Night) – (Aurelia Steiner (Melbourne)) – (Aurelia Steiner (Vancouver)) – (Agatha et les lectures illimitees) – (L’Homme atlanique) – (Il dialogo di Roma) – (Les Enfants (1985 film))

© thevoid99 2023

Murmur of the Heart

Written and directed by Louis Malle, Le souffle au coeur (Murmur of the Heart) is the story of a boy coming of age in post-World War II France as he discovers the world of sex and the social life of his own mother. The film isn’t just an exploration into a boy’s awareness of sex as well as being in a bourgeois world that his mother is a part of. Starring Benoit Ferreux, Lea Massari, Daniel Gelin, Ave Ninchi, Gila von Weitershausen, and Michael Lonsdale. Le souffle au coeur is a witty yet intoxicating film from Louis Malle.

Set in 1954 France during the Indochina War, the film revolves around a young boy coming of age as he opposes the war yet becomes concerned with his interest in sex as well as his own relationship with his mother. All of which plays into the life of a 14-year old boy who becomes fascinated by the changes in his life as his older brothers are having parties with beautiful women while he starts to outgrow boyish things. Still, Laurent Chevalier (Benoit Ferreux) is still at a stage in his life where he is becoming an adult but is still a child at heart as he also copes with being unloved by his gynecologist father but adored by his mother Clara (Lea Massari). It is largely told from Laurent’s perspective as he deals with growing pains and the demands he has as a teenager where he is taught at a Catholic school while getting his first taste with girls and sex.

Louis Malle’s screenplay has a very unique structure where its first half is set in a small French town where Laurent is just a boy coming to terms with a world that is changing as he loves jazz music and all sorts of mischief with his older brothers. On a day he walks home from school with a friend, he would see his mother get into a car with another man as it would trigger a series of events where his brothers would take him to a brothel where he would lose his virginity. Yet, the encounter would only have him confused and ill with a heart murmur as the film’s second half is set in a hotel where Laurent is cared for as he’s accompanied by his mother. It’s in this sanatorium/hotel where Laurent not only increases his interest towards other girls but also learn more about the life of his mother as it adds to his growing awareness that everything in his family life isn’t exactly what it seems. Especially as the retreat has Laurent become more attached towards is mother.

Malle’s direction is very engaging for the way he portrays early 1950s France where television had just emerged in the country while there’s growing debate about the war in Indochina. It’s a film where Malle decides to create something that is intimate as some of it is based on his own upbringing where Malle would shoot the film in the small town of Dijon to play into an upper-middle class world. Using lots of medium shots and close-ups, Malle aims for something that is loose in terms of some of the film’s humor while going for something much more intimate in his framing as it relates to the drama and Laurent’s relationship with his mother. Things do get more intense though on a restrained level once the film is set in this retreat where Laurent not only becomes more interested in girls but also his own mother. Malle’s usage of hand-held cameras become more evident as it plays into some of the craziness that occurs in this retreat but also the tension that looms towards Laurent’s feelings for his mother. Overall, Malle creates a very engaging yet provocative film about a boy coming of age sexually in 1950s France.

Cinematographer Richard Aronovich does brilliant work with the film‘s lush and colorful cinematography to capture some of the low-key yet grimy look of the locations in Dijon along with the more evocative look at the retreat with its usage of natural lights. Editor Suzanne Baron does nice work with the editing as it‘s very stylish with its usage of jump-cuts to play into some of the humor and chaos that occurs in the film. Production designer Jean-Jacques Caziot does superb work with the look of the Chevalier family home as well as the hotel Laurent and his mother stay at.

The sound work of Jean-Claude Laureux does terrific work with the sound as it is raucous for some of the livelier moments with the crowd with sparse moments in the intimate scenes between Laurent and his mother. The film’s music consists of pieces by Sidney Bechet, Gaston Freche, Charlie Parker, Dizzy Gillespie, and Henri Renaud as it’s a fantastic soundtrack that plays into Laurent’s own love for jazz and how it means to him in a complicated world.

The film’s amazing cast includes some notable small performances from Jacqueline Chauvaud and Corrine Kersten as a couple of young women Laurent meet at the retreat, Francois Werner as the snobbish rich kid Hubert that flirts with Laurent’s mother at the retreat, Henri Poirier and Micheline Bona in their respective roles as Uncle Leonce and Aunt Claudine, Gila von Weitershausen as the prostitute Laurent would lose his virginity to, and Ave Ninchi as the family maid Augusta who tries to keep things under control in the chaotic home of the Chevalier family. Marc Winocourt and Fabien Ferreux are terrific in their respective roles as Laurent’s older brothers Marc and Thomas who often get him into mischief as well as try to get him laid.

Michael Lonsdale is superb as Father Henri who tries to understand what Laurent is going through while being his teacher and ponder about Laurent’s sudden interest in things that sort of attack the Catholic church. Daniel Gelin is excellent as Laurent’s father Charles as this renowned gynecologist who is very distant with Laurent as he is always busy and wonders why he is so odd. Lea Massari is brilliant as Laurent’s mother Clara as this Italian woman who is so full of life and love as she also leads a secret life that eventually becomes troubling as she copes with her own faults as a wife and mother. Finally, there’s Benoit Ferreux in a marvelous performance as Laurent Chevalier as this young man coming of age in the mid-1950s as he learns about sex and all sorts of things while getting an understanding of the world from books and jazz music as he also deals with his own feelings towards his mother.

Le souffle au coeur is a remarkable film Louis Malle. Armed with great performances and a fantastic soundtrack, it’s a film that plays into a young boy’s life as well as his understanding about the world of sex in 1950s France. In the end, Le souffle au coeur is a dazzling and delightful from Louis Malle.

Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)

© thevoid99 2015

The Trial (1962 film)

Based on the novel by Franz Kafka, The Trial is the story of a bureaucrat who is accused of a crime he has no clue what he committed as he is targeted by those in society. Written for the screen, directed, and starring Orson Welles, the film is a look into the world of totalitarian society where a man tries to figure out what he did wrong as it leads to all sorts of questions about the way life works. Also starring Anthony Perkins, Jeanne Moreau, Romy Schneider, Elsa Martinelli, and Akim Tamiroff. The Trial is a strange yet visually-astonishing film from Orson Welles.

Set in a futuristic world in an unnamed country, the film revolves around a man trying to figure out why he is being targeted by authorities where he asks questions into what he is charged with. It plays into a world where a man goes into a journey to figure out why he has been arrested as it leads all sorts of strange left turns and places as he has no clue what is going on. Even as his encounter with a trio of women would get him into places he has no idea what is going on as his attempts to seek help become more confusing. Orson Welles’ screenplay definitely plays into the abstract writing style of Franz Kafka where it is more about a man trying to understand a world that he is in and how his life had been defined by playing a role in society where there aren’t any ideas of individualism. Even as characters are people who aren’t exactly as they seem as it plays into the world that Josef K. (Anthony Perkins) is surrounded with.

Welles’ direction definitely plays to not just a sense of style in its homage to film noir but also infuse this very entrancing style of framing and camera angles that is akin to the style of European cinema of the times. Much of the direction plays into the world of Kafka where Josef would go into this journey where he walk into one building and then find himself in a building he knows but wonders how he got there. The direction definitely has this abstract tone not just in some of the compositions where there’s some high camera angles and low ones but also in its use of wide shots. Much of it involves these intricate ideas of framing in the way buildings are presented to make it feel like a futuristic world while Welles’ approach to low angles with its close-ups play into the drama as well as the suspense.

The crowd scenes are also effective to play into this feel of totalitarianism and bureaucracy where Josef K. is someone trying to fit into that world but there’s aspects of him that makes him a very dangerous threat to society. Even as he is forced to play into allegories such as this story that opens the film that Welles narrates as it would have a lot of metaphors for what Josef K. has to go through. Overall, Welles creates a very thrilling and provocative film about a man who is a target for a crime he has no idea what he committed.

Cinematographer Edmond Richard does brilliant work with the film‘s black-and-white photography with its use of lights to play into some of the film‘s dark moods and textures as well as some of the exteriors that add a futuristic feel to its locations. Editors Yvonne Martin and Frederick Muller, with additional and un-credited work from Orson Welles, do amazing work with the editing with its approach to fast-cutting in some of the very intense suspense scenes along with other stylish cuts to play into the drama and suspense. Production designer Jacques Mandaroux does excellent work with the set pieces from the offices as well as the design of the courtrooms and how some of them are strangely connected to one another.

Costume designer Helene Thibault does nice work with the costumes as it‘s mostly casual with the exception of some of the stylish clothing the women wear. The sound work of Guy Villette is fantastic for the atmosphere it conveys in some of the scenes involving crowds as well as the office building that Josef K. works at. The film’s music by Jean Ledrut is superb for its mixture of eerie orchestral music that is mixed in with frenetic jazz music where the former plays into the drama while the latter adds energy to its suspense.

The film’s phenomenal cast include some notable small roles from Max Haufler as Josef’s uncle, Naydra Shore as Josef’s young cousin, Michael Lonsdale as a priest, Arnoldo Foa as a lead inspector who arrests Josef, Fernand Ledoux as a chief law clerk, Suzanne Flon as a mysterious woman dragging a luggage that Josef meets, Madeleine Robinson as the landlady that Josef is friendly with, William Chappell as a mysterious painter whom Josef meets late in the film, and Akim Tamiroff in a terrific performance as a client of a mysterious lawyer. Elsa Martinelli is wonderful as a courtroom guard’s wife who flirts with Josef as she gives him odd answers. Romy Schneider is fantastic as a mysterious lawyer’s mistress named Leni who seduces Josef as she would also bring in some questionable suggestions for Josef’s quest.

Jeanne Moreau is excellent in a small role as Josef’s neighbor Marika Burstner who is a nightclub dancer that is trying to cope with her job as she is aware that she is being evicted. Orson Welles is amazing as the mysterious lawyer known as the Advocate as he is this very strange individual who tries to get Josef to work with him only to make him confused and such. Finally, there’s Anthony Perkins in a pretty good performance as Josef K. where Perkins does bring a lot of energy though he’s sort of miscast as he tends to overact some of his emotions while he doesn’t bring enough gravitas to make his character that compelling.

The Trial is an excellent film from Orson Welles that explores the world of the unknown set in a futuristic society. While it does have some flaws that includes a somewhat weak performance from Anthony Perkins, it is still a very engaging film for the way it explores totalitarianism and bureaucracy as well as presenting it with such style. In the end, The Trial is a superbly rich film from Orson Welles.

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2014

The Remains of the Day

Based on the novel by Kazuo Ishiguro, The Remains of the Day is the story of a butler whose devotion to his master has him cut off from reality as the estate’s new housekeeper tries to find the humanity within him. Directed by James Ivory and screenplay by Ruth Prawer Jhabvala, the film is an exploration into the life of a man who maintains his servitude while not giving in towards his own emotions that would later come back to haunt him. Starring Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve, Hugh Grant, Lena Headey, and Ben Chaplin. The Remains of the Day is a somber yet exquisite film from James Ivory and the Merchant-Ivory team.

The film takes place in two different time periods where a butler reflects on his life of service to a lord as he’s about to meet the housekeeper he worked with back in the 1930s. During his trip to meet Miss Sarah “Sally” Kenton (Emma Thompson), Mr. James Stevens (Anthony Hopkins) reflects on the years he served Lord Darlington (James Fox) and how he had been very compulsive in his duties to his lord while not pretending to listen to any conversations or state his own opinions. It’s a role that he’s accepted as Miss Kenton begrudgingly accepts his cold demeanor except in moments where she feels that something had to be said. It’s a film that explores a man’s devotion to his life in service where the only moments he has time to himself is in reading books as a way to connect with the world.

Ruth Prawer Jhabvala’s screenplay, with additional contributions from Harold Pinter, has a unique narrative structure where it moves back-and-forth from Mr. Stevens’ traveling to see Miss Kenton in the 1950s and their time together serving for Lord Darlington in the 1930s. It’s a narrative that Mr. Stevens reflecting on that time where he was at his most useful where he would supervise everything that goes on in the estate while ensuring that everything is in tip-top shape. It is there that Miss Kenton arrives as the new head housekeeper as she is aware of how to act and perform duties. Even as the younger maids and butlers know that rule as well though some of them would have romantic trysts during breaks with the exception of Miss Kenton and Mr. James as the former often observes while the latter just oversees what goes on in the house.

The film also features a subplot where Lord Darlington would hold a meeting to appease Nazi Germany to the world over the unfair treatment they got in the Treaty of Versailles in the aftermath of World War I. Though it has nothing to do with the main narrative, it would play into Mr. James’ sense of disconnect with the real world and his lack of opinion about the state of the world where he’s later confronted by Darlington’s godson Reginald Cardinal (Hugh Grant) in the film’s third act over Darlington’s meetings with Germany as it’s a crime of treason. Most notably as Darlington would later regrettably dismiss a couple of young maids because of their Jewish backgrounds which was a decision that Miss Kenton wasn’t fond of. It would play to the sense of restraint in the role of Mr. Stevens who could’ve done something but sit back and let it happen where he would reflect on that moment with regret as well.

James Ivory’s direction is truly intoxicating in the way he explores the world of servitude in a posh, English estate where a lord lives there and he’s got a large staff of people tending to the house. While Ivory would create scenes where it would play into whatever meetings Lord Darlington is holding, Ivory always make sure that Mr. Stevens and his fellow staff are in the background maintaining their role of servitude. Even where they would find themselves listening to some secret conversations and such but maintain their place as if they never heard anything. Still, Ivory makes sure that it’s a film about the servants where Mr. Stevens is the leader as he’s often seen in a medium shot or in a close-up where he has very little idea about the world outside.

Since much of the film takes place in a lot of estates in England, they do serve as a character in the film where it’s a place where the servants know where to go and what to do when the bell rings. The use of slow zoom lenses for close-up and some of the tracking shots showcase Ivory playing into that world where these servants run the house like clockwork and make sure things are intact. Even as the scenes in the 1950 where it begins with Mr. Stevens working with his new boss in the retired American politician Trent Lewis (Christopher Reeve) who knew Mr. Stevens as he was a visitor during a key meeting in the film. The house is still a character but a shell of its former self as it reflect the sense of loss and disconnection of Mr. Stevens with the rest of the world and in his relationship with Miss Kenton. Overall, Ivory creates a very rich yet heartbreaking film about a man’s devotion to service as he becomes unable to express himself to the people who are closest to him.

Cinematographer Tony Pierce-Roberts does fantastic work with the film‘s photography from the way many of the house interiors in day and night are lit to play into its natural atmosphere as well as some of the exteriors to show the richness of the countryside. Editor Andrew Marcus does brilliant work with the film‘s editing as it‘s filled with stylish dissolves and slow-motion cuts as well as some jump-cuts to play with its drama. Production designer Luciana Arrighi, with set decorator Ian Whittaker and art director John Ralph, does amazing work with the look of the house from its library to the dining halls and silver room to play into the sense of richness that Mr. Stevens takes great care into.

Costume designers Jenny Beaven and John Bright do excellent work with the costumes from the suits that Mr. Stevens and the other butlers wear to the uniforms of Miss Kenton and the other maids wear. Sound editor Colin Miller does nice work with the sound from the way things sound during the cleaning process to some of the way conversations are heard from the outside. The film’s music by Richard Robbins is just marvelous for its very low-key yet elegant orchestral score that plays to some of the film’s drama as well as some of the emotional moments in the film.

The casting by Celestia Fox is incredible for the ensemble that is created as it features some superb small performances from Michael Lonsdale as a French aristocrat Lord Darlington invites, Emma Lewis and Johanna Joseph as the two German-Jewish maids that Miss Kenton hires, and Tim Pigott-Smith as a former servant named Benn that Miss Kenton meets in her days off. Other notable small roles include Ben Chaplin in a terrific performance as the under-butler Charlie, Lena Headey in a wonderful performance as the young maid Lizzie, and Peter Vaughn in a fantastic performance as Mr. Stevens’ father who would work with his son early on only to be stricken by age. Hugh Grant is excellent as Lord Darlington’s godson Reginald Cardinal as he brings some subtle humor to the film while commenting to Mr. Stevens about the trouble Lord Darlington is getting himself into.

James Fox is amazing as Lord Darlington as a man who tries to create peace between Germany and the rest of the world while later finding himself in ruins over what he’s done while he often asks Mr. Stevens on any opinions on his role. Christopher Reeve is great as Trent Lewis as a former American congressman who arrives at a 1930s dinner displaying his opinion about the meeting while later becoming Mr. Stevens’ new boss in the 1950s as it’s a truly fine performance from the late actor.

Finally, there’s Anthony Hopkins and Emma Thompson in magnificent performances as Mr. James Stevens and Miss Sarah Kenton, respectively. Thompson has the more showier role yet it is told with such passion as a woman who tries to get Mr. Stevens to express himself while dealing with her feelings for him. Hopkins’ performance is entrancing for the sense of restraint and lack of emotion he displays as a man just trying to do his duty no matter what kind of situation is happening. Hopkins and Thompson have a chemistry that is just undeniable to watch as they showcase the sense of heartbreak and desire to be with each other but also the internal conflicts in the two as it’s truly some of their best work.

The Remains of the Day is a tremendous film from the Merchant-Ivory team that features outstanding performances from Anthony Hopkins and Emma Thompson. Not only is this one of the best films from Merchant-Ivory but also in the way the explore a man’s blind devotion to his duties and the sense of disconnect he would have with the world and the people around him. In the end, The Remains of the Day is a remarkable film from James Ivory.

James Ivory Films: The Householder - (The Dehli Way) - Shakespeare Wallah - (The Guru) - Bombay Talkie - (Adventures of a Brown Man in Search of Civilization) - (Savages (1972 film)) - (Autobiography of a Princess) - (The Wild Party) - (Roseland) - (Hullabaloo Over Georgie and Bonnie’s Pictures) - (The Five Forty-Eight) - (The Europeans) - (Jane Austen in Manhattan) - (Quartet (1981 film)) - (Heat and Dust) - (The Bostonians) - A Room with a View - Maurice - (Slaves of New York) - (Mr. & Mrs. Bridges) - Howards End - (Jefferson in Paris) - (Surviving Picasso) - (A Soldier’s Daughter Never Cries) - (The Golden Bowl) - (Le Divorce) - (The White Countess) - (The City of Your Final Destination)

© thevoid99 2014

5x2

Directed by Francois Ozon and written by Ozon and Emmanuele Bernheim, 5x2 is the story about the life of a couple from how they met and how they dissolved told backwards in five different parts of their lives. The film is an exploration into the world of love and marriage on how it fell apart and how did they get together in the first place. Starring Valeria Bruni-Tedeschi and Stephane Freiss. 5x2 is an entrancing yet captivating drama from Francois Ozon.

There is always a scheme whenever love comes into play. Boy meets girl. Boy marries girl. Then comes a baby and later a family. Then they either grow old together and die or they get divorced and find someone else. In this film, it’s about the end of a relationship told backwards in five different settings as it involves Marion (Valeria Bruni-Tedeschi) and Gilles (Stephane Freiss) as it begins with the two finalizing their divorce and spend one final day together as it’s clear that it’s over. The subsequent episodes of Marion and Gilles’ life reveal not just some of the aspects of their dissolution but also the question of where they right for each other to begin with?

What Francois Ozon and co-writer Emmanuele Bernheim do is take five moments of the life of Marion and Gilles told backwards to discover not just where the root of their dissolution but also how they met in the final episode of the film. The three episodes in between the film’s beginning and ending not only reveal moments where their marriage starts to fall apart but also the reasons into why they never should’ve been together in the first place. The screenplay plays into many themes of marriage including infidelity and family where is it all worth it to get married. Yet, Marion and Gilles would face many challenges in their marriage including on their wedding day where Marion’s encounter with an American tourist (Jason Tavassoli) would continue to add these questions that the film raises.

Ozon’s direction is very entrancing for the way he explores these five different moments as a lot of it is very bleak and unsettling from his approach to framing the actors in a scene to the way he presents these intimate moments with such subtlety and restraint. Even in the drama as it is very low-key and minimalist while it does have some moments of brutality that makes things very uncomfortable. Each segment Ozon brings is told in 20 minutes where he allows enough coverage to unveil the events that caused this relationship to be doomed as some of its told unconventionally while its final segment is definitely the most conventional which is quite different from the rest of the film as it unveils some happy moments. Overall, Ozon crafts a very provocative and intriguing look into the world of marriage and its drawbacks.

Cinematographer Yorick Le Saux does brilliant work with the film‘s cinematography that includes some very stark colored schemes for most of the film‘s first half to more gorgeous lighting schemes in the wedding scene. Editor Monica Coleman does great work with the editing to help create this unique structure for the film as well as using rhythmic cuts to play out some of the film‘s drama. Production designer Katia Wyszkop does excellent work with some of the set pieces from the look of the wedding reception to the home of Gilles and Marion that reveal some of the bleakness of the film. Costume designer Pascaline Chavanne does fantastic work with the costumes to showcase the sense of de-evolution into the characters as their clothes start from being cold to more light-hearted as the film progresses.

The sound work of Jean-Pierre Duret, Benoit Hillebrant, and Jean-Pierre Laforce is terrific to play out some of the dark intimacy of the film as well as some of the more raucous moments in the wedding reception and the first meeting between Gilles and Marion. The film’s music by Philippe Rombi is wonderful for the melancholia that is created in its low-key piano score to convey that sense of doom while its soundtrack consists of music ranging from Italian pop ballads, techno, and contemporary music including the Platters’ Smoke Gets In Your Eyes.

The casting by Antoinette Boulat is terrific for the ensemble that is created as it features some small roles from Jean-Pol Brissart as the divorce judge, Yannis Belkacem as Gilles and Marion’s son Nicholas, Jason Tassavoli as the American tourist Marion meets on her wedding night, Geraldine Pailhas as Gilles’ girlfriend in the final segment of the film, Antoine Chappey as Gilles’ gay brother Christophe, Marc Ruchmann as Christopher’s boyfriend Mathieu, Francoise Fabian as Marion’s domineering mother, and Michael Lonsdale in superb performance as Marion’s more quiet and insightful father.

Valeria Bruni-Tedeschi and Stephane Freiss are remarkable in their respective roles as Marion and Gilles. Freiss brings a chilling performance to a man who seems lost in his marriage as he becomes far more despicable as he later shown to be a much kinder and more enjoyable man before he meets Marion. Bruni-Tedeschi showcases a more complex performance as a woman filled with bitterness over how things went wrong while she seems to be someone who tries to hold on to everything but does things that will play into their dissolution.

***DVD Content comes from the Original Review at Epinions.com that was Written and Posted on 6/2/06***

The 2005 Region 1 DVD from Thinkfilm and Lions Gate shows the film in a wonderful widescreen format with an excellent 5.1 Dolby Digital sound in French with English subtitles. While the DVD is more superior to what Focus Feature had done for his previous feature, Swimming Pool, they both leave fans wanting for more. The special features of 5x2 includes preview trailers for other films like Kontrol, an auditions feature, a making-of special, lighting tests, and deleted scenes. The auditions feature done in late 2002 features Stephane Freiss and a dark-haired Valeria Bruni-Tedeschi acting out a scene from a movie not by Ozon but from another film. The audition revealed the strong chemistry Freiss and Bruni-Tedeschi had while the two looked relaxed and having fun at the same time. The lighting test is a one-minute clip of Ozon photographing his actors to get the right light as the two were looking very comfortable.

The 16-minute making-of featurette is really the making of the wedding scene which reveals more of Ozon's working style. While Ozon, like most directors, uses monitors, he also goes behind the camera looking for the right shots as he directing his stand-ins to dance the waltz with music in the background. This special shows how talented Ozon is as director as he can direct two to many more while trying to get the timing right and the actors to feel comfortable as the scene shows how much fun they were having. It's a true delight for fans of the director.

The 18-minute deleted scenes section reveals five clips that got cut from the film where it was obviously for pacing issues or plot reasons. The first is a prologue sequence of Marion waking up in her apartment with Gilles sleeping as he wakes up which leads to the two to make love and then cuts to the first scene of the film. The second scene involves an extended party sequence with Christophe where Gilles reveals his depression and his unemployed status. The third deleted scene is an extended sequence that involves Marion's encounter with the American which opens up more interpretation to the audience. The fourth deleted scene is the first meeting of Marion and Gilles in an office which shows more of Marion's youthful energy as opposed to the relaxed behavior of Gilles. The final scene is merely an outtake of Marion doing synchronized swimming which is really one of the funniest outtakes of the film.

While the Region 1 DVD is great, the Region 2 special French 2-disc DVD edition that contains more features. One is a Venice Film Festival feature, where Bruni-Tedeschi won a Best Actress prize, and audio commentary from Francois Ozon himself, in French obviously. On that DVD includes a different version of the film called 2x5 which Ozon shows the film in its exact, chronological order with some re-editing and new perspective that's only available in France. While American fans might want the Region 1 DVD, they'll have to pay a lot more the Region 2 French version.

***End of DVD Content***

5x2 is a marvelous film from Francois Ozon that features brilliant performances from Valeria Bruni-Tedeschi and Stephane Freiss. The film isn’t just one of Ozon’s great triumphs but also one of the most compelling films about the world of marriage told in an unconventional fashion. It’s also an intriguing film for the fact that it uses its backwards-storytelling gimmick to be effective to raise questions about how things went wrong. In the end, 5x2 is a fantastic 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 - Time to Leave - Angel (2007 film) - Ricky - The Refuge - Potiche - 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

Stolen Kisses

Directed by Francois Truffaut and written by Truffaut, Claude de Givray, and Bernard Revon, Baisers voles (Stolen Kisses) is the story of Antoine Doinel’s life as he becomes part of a private detective agency where he deals with his relationship with a young woman while falling for the wife of a man he‘s investigating. The film is the third part of the Antoine Doinel story as Jean-Pierre Leaud plays the character for the third time in this exploration of love and adulthood. Also starring Claude Jade, Delphine Seyrig, and Michael Lonsdale. Baisers voles is a marvelous yet witty film from Francois Truffaut.

After a dishonorable discharge from the army, Antoine Doinel struggles to return to normal life as he is desperate to find work and re-establish contact with his girlfriend Christine (Claude Jade). With the help of Christine’s father (Daniel Ceccaldi), Antoine gets a job as a concierge at a hotel where things seemed to go well until he lets a couple of men who were trying to break into a room. The incident left Antoine without a job as one of the men he meets in Monsieur Henri (Harry-Max) is a private detective. Antoine gets a job at the private detective agency where he works to tail people and make reports about those he’s investigating. While it does create some problems with his time with Christine, Antoine also has trouble trying to keep up with his work.

When he’s asked to investigate the a shoe sales manager (Michael Lonsdale), Antoine works as a stock boy for the investigation where he meets and falls for the manager’s wife Fabienne (Delphine Seyrig). Antoine tries to deal with his issues with Christine as he’s also being pursued by Fabienne where he goes into conflict over what to do. Eventually, trouble would arrive as Antoine ponders about his own place in the world as well as his feelings for Christine.

When a young man reaches into adulthood as he tries to find out the world of love and identity, it becomes a very confusing place to be in. For Antoine Doinel, it’s much more complicated as he had just find himself ousted from the army for not fitting in. After his post-military life, he deals with trying to find his place in the world as he also wants to pursue a relationship with a young woman he cares about but things aren’t going very well. Once he takes a job as a private detective as he’s investigating a shoe sales manager, he finds himself being attracted to the man’s wife as it creates more complications about his ideas on love and the world in general.

The screenplay explores the world of love and life as it is a film that is part-mystery and part-comedy as it continues Antoine Doinel’s misadventures into the world. The film starts off with Doinel at a military prison where it’s very clear that he seems out of place in that world as once he re-enters society, he has no idea what he’s doing or where he’s going. Even the hookers he encounters just after he leaves the military has him confused by their new rules. His relationship with Christine is a friendly one as they don’t really act upon their romance as she’s always out and he is naïve in trying to push their relationship forward. Upon his time working as a detective where he would meet Fabienne, it would give him a much broader understanding about love while he also goes into his own internal conflicts about his work. Francois Truffaut and his co-writers create a character who is just coming into his own as a young adult as he’s also aware that he still has a lot of growing up to do.

Truffaut’s direction is brilliant for the way he presents the story as he definitely aims for a sense of style as he would shoot scenes on locations in Paris while playing to the crazed world that Antoine is in. Truffaut does create some amazing shots with striking compositions to play out the sense of Antoine’s sense of confusion as well as the world of being a private detective. Even by utilizing hand-held cameras and wide shots to create the sense of mystery as there’s Antoine often tailing someone or a mysterious man (Serge Rousseau) following Christine.

The direction of the film also explores the world of love as Truffaut does create stylish montages to establish Antoine’s naiveté where the film’s second half as a looser feel. Even in a scene where Antoine’s boss (Andre Falcon) is fighting against a client where Antoine tries to intervene leading to all sorts of craziness. Antoine’s moments with Fabienne are tense and calm as it revels in Fabienne’s experience with love as Truffaut always has the camera fixated on Fabienne. The film’s final moments does have some revelations while it also reveals that Antoine has just taken some major steps into the world of adulthood. Overall, Truffaut creates a very compelling film about growing up.

Cinematographer Denys Clerval does excellent work with the film‘s colorful yet vibrant cinematography to capture the beauty of the Parisian locations as well as some of the interiors to display the different worlds that Antoine is encountering. Editor Agnes Guillemot does superb work with the editing by utilizing stylish cuts such as montages and jump-cuts to play with the film‘s rhythm and its structure. Production designer Claude Pignot does terrific work with the set pieces such as the shoe store and the detective agency that Antoine works at.

The sound work of Rene Levert is wonderful for the intimacy that is created in some sparse moments in some of the film‘s locations as well as the raucous world of the agency where there‘s a lot of calls and such. The film’s music by Antoine Duhamel is sublime for its serene and playful orchestral score to capture the energy of Antoine’s misadventures. The film’s soundtrack includes the song Que reste-t-il de nos amour? by Charles Trenent that opens and closes the film as it plays to the world of love.

The film’s ensemble cast is fantastic for the actors that are hired for this film as it features some notable appearances from Serge Rousseau as the mysterious man who follows Christine, Harry-Max as the private detective who shows Antoine the ropes to be one, Andre Falcon as Antoine’s agency boss Monsieur Blady, Catherine Lutz as the private detective Catherine, Michael Lonsdale as the insecure shoe sales manager Georges Tabard, Daniel Ceccaldi and Claire Duhamel as Christine’s parents, Jean-Francois Adam as Albert Tazzi, and Marie-France Pisier as Antoine’s former girlfriend in Colette Tazzi. Delphine Seyrig is amazing as the evocative Fabienne Tabard as she creates a radiant presence that is intoxicating to watch as she tries to seduce Antoine. Claude Jade is wonderful as the more reserved Christine who tries to deal with Antoine’s new life as well as trying to keep him at arm’s length over his attempt to woo her.

Finally, there’s Jean-Pierre Leaud as Antoine Doinel as he makes Doinel a much more confused person in trying to re-establish contact with society and love as there’s also a great sense of humor in Leaud’s performance. Leaud also adds a moment of restraint in the way Doinel tries to come to terms with his choices as he eventually reveals his frustrations about how Christine tries to push him away when all he wants to do is love her.

Baisers voles is a remarkable film from Francois Truffaut that features Jean-Pierre Leaud as Antoine Doinel. Along with amazing supporting work from Claude Jade and Delphine Seyrig, it’s a film that explores the world of early adulthood and the struggle to find an identity in that world. It’s also a film that explores Doinel’s fascination with love as he tries to ponder what to do as a man. In the end, Baisers voles is an extraordinary film from Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules and Jim - Antoine and Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - 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 - The Woman Next Door - Confidentially Yours

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

© thevoid99 2012

The Bride Wore Black

Based on William Irish’s novel, La Mariee etait en noir (The Bride Wore Black) is the story of a young woman who was tricked by five men on her wedding day as she swears revenge on these men. Directed by Francois Truffaut and screenplay by Truffaut and Jean-Louis Richard, the film is an exploration into a young woman who feels jilted by these men as she goes on a journey of vengeance. Starring Jeanne Moreau, Charles Denner, Alexandra Stewart, Michel Bouquet, Michael Lonsdale, Claude Rich, and Jean-Claude Brialy. La Mariee etait en noir is a fascinating film from Francois Truffaut.

The film is essentially the story of this woman named Julie Kohler (Jeanne Moreau) who loses her husband David (Serge Rousseau) on their wedding day when he got shot a stray bullet. Distraught over her loss and wanting to know what happened, she learned that five men were involved in the death of her husband as she decides to track them down and kill them. Among these men is an engaged bachelor named Bliss (Claude Rich), a lonely man named Coral (Michel Bouquet), a family man named Morane (Michael Lonsdale), a criminal named Delvaux (Daniel Boulanger), and an artist named Fergus (Charles Denner). Julie would meet them and then find ways to kill them as she later contends with guilt as the truth is revealed into why her husband was killed.

The screenplay by Francois Truffaut and Jean-Louis Richard does have a unique structure in how Julie would plan these meetings with these men as she takes her time to meet them, take them off guard, and kill them when the time is right. At first, she has no sense of moral implication as she is just intent on seeking vengeance for her loss. By the time she meets Morane in the second act where some revelations are revealed about what happened, things eventually get more complicated as she becomes confused. This would lead to a third act where she goes after the remaining two men but there are things that would eventually complicate matters as she still intends to fulfill her desire for vengeance. While there’s a lot of sympathy for what Julie is doing despite her actions. The script also allows the chance for the five men to kind of explain themselves as most of them aren’t really bad people.

Truffaut’s direction is definitely stylized in terms of the compositions and set-ups that he creates. A lot of it is inspired by some of the visual tricks of Alfred Hitchcock from the use of flashbacks to the way the suspense is build up. Truffaut’s framing and the way he has his actors positioned in a frame allows him to create startling moments where Julie would make her move to meet her target and then kill him. By the time she continues her journey, Truffaut would loosen things up a bit with the images to let things be a bit more playful but maintain that air of suspense. Even as things finally intensify in the third act where Truffaut is slowly trying to see how Julie will continue her path of vengeance that would lead to a surprising yet fulfilling climax. Overall, Truffaut crafts a very engaging yet enjoyable thriller about vengeance.

Cinematographer Raoul Coutard does superb work with the cinematography to display the colorful look of the locations as well as the interiors that includes the art studio that Fergus has. Editor Claudine Bouche does excellent work with stylized editing with the use of dissolves and montages to play out some of the film‘s playful moments along with transitional fade-outs to help set the structure. Production designer Pierre Guffroy does nice work with the set pieces that includes the art studio run by Fergus. The sound work of Rene Levert is terrific for the atmosphere that is created in the intimate moments between Julie and her targets. The film’s music by Bernard Herrmann is brilliant for its thrilling score that plays to soaring orchestral arrangements that is true to the spirit of Hitchcock. Even as the soundtrack features pieces by Antonio Vivaldi including a record that Julie likes to play.

The film’s ensemble cast consists of appearances from Serge Rousseau as the ill-fated husband David, Alexandra Stewart as the teacher Miss Becker whom Julie pretends to be, Christophe Bruno as Morane’s son Cookie, and Jean-Claude Brialy as Bliss and Fergus’ friend Corey who would help drive the film’s third act with his own suspicions. In the roles of the five men, Daniel Boulanger is very good as the shady criminal Delvaux. Michael Lonsdale is excellent as the family man Morane while Charles Denner is great as the charming artist Fergus. Claude Rich is cool as the suave ladies man Bliss while Michel Bouquet is terrific as kind Coral. Finally, there’s Jeanne Moreau in an incredible performance as Julie Kohler as she displays an air of radiance in her presence as well as complexity to a woman seeking vengeance only to realize how complicated it becomes.

La Mariee etait en noir is a riveting yet suspenseful from Francois Truffaut that features a brilliant performance from Jeanne Moreau. The film is not just a captivating thriller but also a great tribute to the works of Alfred Hitchcock. It’s also a film that plays with the conventions of suspense as it allows to follow a character that wants justice for what happened. In the end, La Mariee etait en noir is a marvelous film from Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - 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 - The Woman Next Door - Confidentially Yours

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

© thevoid99 2012

007 James Bond Marathon: Moonraker

Based on Ian Fleming’s novel, Moonraker is the story of James Bond uncovering a space shuttle theft as he meets its manufacturer who plans to create a society in outer space. Directed by Lewis Gilbert and screenplay by Christopher Wood, the film has James Bond traveling all over the world again as well as go to outer space to face off against another megalomaniacal villain. Also starring Michael Lonsdale, Lois Chiles, Richard Kiel, Walter Gotell, Desmond Llewelyn, Lois Maxwell, and in his final appearance as M, Bernard Lee. Moonraker is a spectacular film from Lewis Gilbert.

After the theft of a space shuttle, James Bond is asked by M and the Minister of Defense Frederick Gray (Geoffrey Keen) to investigate as Bond travels to California to meets its manufacturer Hugo Drax (Michael Lonsdale). After meeting Dr. Holly Goodhead (Lois Chiles) at Drax’s lab, Bond seduces Drax’s assistant Corrine Dufour (Corrine Clery) to get information about what Drax is planning as he travels to Venice for further investigation. After dealing with some of Drax’s people, Bond discovers glass vials containing nerve gas put into chambers as Bond later learns that Goodhead is a member of the CIA. After reporting the news to Gray and M about the lab, they discover that it’s gone as Gray is forced to apologize to Drax for Bond’s blunder though M knows something is up.

Going to Rio de Janeiro, Bond meets his contact Manuela (Emily Bolton) to find out what Drax is doing in Rio as he suddenly meets up with Drax’s newly-hired henchman in Jaws (Richard Kiel) as he and Goodhead have another encounter with Jaws when they learn that Drax is moving all of his properties away from Rio. Though Bond was able to escape the clutches of Drax’s henchmen, Goodhead was captured as Bond regroups at a secret base where Q (Desmond Llewelyn) discovers the source of the nerve gas from a rare orchid prompting Bond to go to the Amazon where he encounters Jaws and more of Drax’s men leading to Drax’s secret base where Goodhead is held prisoner. After another escape with Goodhead, the two travel to outer space where they learn about Drax’s big plans to hold a society of a new world and destroy the old one. The news would force Bond to save the world with the help of an unexpected ally.

The film is essentially about James Bond stopping another industrialist from destroying the world to create a new one but this time around, it’s in outer space. Yet, it would have Bond doing more investigating and engage into conflict with henchman as he is trying to save the world once again. This time around, he faces off against a man who wants to create a new world that away from all of the decadence and turmoil but also create new species with people who have perfect genes. While there’s nothing wrong with Drax’s ideas, the fact that he wants to destroy Earth just makes him the kind of foe Bond has to defeat. The screenplay succeeds in creating a character as complex as Hugo Drax as well as creating a Bond girl in Dr. Holly Goodhead who is quite intelligent and can kick some ass in order to help Bond.

The direction of Lewis Gilbert is definitely big in terms of the ambition he aims for as much of the film takes place in different locations such as Venice, Rio de Janeiro, California, and parts of Guatemala. Yet, Gilbert ensures that the film has all of the tropes of what is expected in a Bond film through the beautiful locations and thrilling action sequences while taking time to uncover things that is crucial to the film’s plot. While the film does contain humor, at times it goes a little overboard towards silliness where it ends up being a bit of a distraction rather than to help advance the story. Yet, the humor isn’t shown as much as it leads to the climatic scenes in outer space in the third act where Bond takes charge and faces off against Drax and destroy his plans. Despite the flaws the film carries, Lewis Gilbert creates another successful and engaging Bond film that does everything that is expected in a Bond film.

Cinematographer Jean Tournier does a wonderful job with the film‘s photography from the gorgeous exterior shots of some of the film‘s exotic locations to the interiors in Drax‘s mansion and the space station to maintain a very pristine look. Editor John Glen does excellent work with the editing to play up the element of suspense and action with some stylish cuts for the latter. Production designer Ken Adam, with set decorator Peter Howitt and art directors Charles Bishop and Max Douy, does brilliant work with the set pieces from the look of Drax’s mansion and home bases to the look and interiors of the space station.

Costume designer Jacques Fonteray does superb work with the costumes from the suit that Drax wears at the space station to the look of the space suits worn by the U.S. Marines astronauts and Drax‘s astronauts during the climatic laser battle. Visual effects supervisor Derek Meddings does spectacular work with the visual effects such as the many scenes in outer space that involves zero gravity and anything involving lasers. Sound mixer Daniel Brisseau does nice work with the sound from the way the lasers sound to the array of sound to exemplify the film‘s action sequences. The film’s score by John Barry is terrific for its lush orchestral arrangements and the bombast it has for many of the film’s action sequences. The title song co-written by lyricist Hal David and sung by Shirley Bassey is a wonderful ballad that plays to the tradition of Bond themes while it also has a disco remix played in the film’s final credits.

The casting by Weston Drury Jr. and Margot Capelier is incredible for the ensemble that is created as it includes some notable performances from Corrine Clery as Drax’s assistant Corrine Dufour, Toshiro Suga as Drax’s henchman Chang, Emily Bolton as Bond’s Rio contact Manuela, Michael Marshall as the U.S. Marines commander, and Blanche Ravalec as the girl Dolly that Jaws falls for. Bond regulars such as Walter Gotell as General Gogol. Geoffrey Keen as the Minister of Defense, Lois Maxwell as Miss Moneypenny, and Desmond Llewelyn as Q are fun to watch as they each give memorable performances. Bernard Lee is great as Bond’s superior M who backs Bond up following a blunder as it’s a truly gracious performance from Lee in his final outing as M.

Richard Kiel is excellent as the henchman Jaws where he finally gets something to do other than go after Bond where his character falls in love as he gets to display a more tender side to the character. Lois Chiles is wonderful as Dr. Holly Goodhead by providing a calm yet cool performance as a character who aids Bond in the mission while proving to be a very smart person Bond can count on. Michael Lonsdale is very good as Hugo Drax, an industrialist who has ambitions to create a new world as Lonsdale displays a great sense of restraint and prestige as the film’s antagonist. Finally, there’s Roger Moore as James Bond where Moore displays his sense of humor and charm to the character while proving to be more direct once his character has to do investigating and fighting as it’s one of Moore’s essential performances as Bond.

Despite some of the silliness in the story and the unnecessary humor, Moonraker is still a stellar film from Lewis Gilbert. Thanks in part to Roger Moore and Michael Lonsdale, it’s a film that is worth watching for its sense of adventure as well as being thoroughly entertaining. Notably as it has Bond taking on the sci-fi genre with some success as Bond manages to find ways to remain relevant in the age of the blockbuster. In the end, Moonraker is a marvelous James Bond film from Lewis Gilbert.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film)) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

2012 Cannes Marathon: Of Gods and Men

(Winner of the Grand Prix at the 2010 Cannes Film Festival)

Directed by Xavier Beauvois and written by Beauvois and Etienne Comar, Des hommes et des dieux (Of Gods and Men) is the story of eight Trappist monks whose peaceful life is threatened by fundamental terrorists as they’re trying to decide whether or not to leave their home in Algeria. The film is exploration of faith as a lot of is based on an incident in 1996 during the Algerian Civil War. Starring Lambert Wilson, Michael Lonsdale, Olivier Rabourdin, and Philippe Laudenbach. Des hommes et des dieux is an extraordinary and compelling drama from Xavier Beauvois.

Living above a small village in Algeria are a group of Trappist monks who are seen as men people can count on. Led by their elected leader Christian (Lambert Wilson), the eight men live a life of solitude where they grow crops, do their usual service, and help out the village where Luc (Michael Lonsdale) is the monks’ beloved doctor. When news of a civil war breaking out where they learn that a Croatian man was killed, the Algerian government wants to offer protection to the monks. Christian refuses in order to maintain their routine despite a tense visit from the opposing group of fundamental terrorists led by Ali Fayattia (Farid Larbi) who demands some supplies only for Christian to refuse since it’s Christmas.

Though Christian was able to get Ali and his men away for a while, the rest remain unsure if they can hold off these men as Christian still has to deal with the government and its army as the monks try to do whatever they can for the village. Still, frustration starts to ensue as a few want to leave for safety but Christian wants to stay for the village as they’re counting on these men to protect them. Months go by as a few experience doubt while Luc becomes overwhelmed by his work as Christian gives him a break. With the war intensifying as a visit from the Algerian army only made things uncomfortable prompting the men to band together. When an old friend in Bruno (Olivier Perrier) decides to return to the monastery, the men await for what would probably as the war starts to reach its peak.

The film is a true story about a group of monks who are trying to live their life of solitude during a tense war where they’re dealing with two opposing sides in this civil war where innocent people are being killed. It is told in a style where it’s more about men just trying to do what is right and maintain their routine as there’s not of dialogue present. Instead, it’s more about the routine these men do in service of the people they care for. The screenplay that Xavier Beauvois and Etienne Comar create is an exploration of men trying to hold on to their faith in the threat of war. Leading all of this is a man named Christian who is just trying to do what is right for his community and his monks though he would admit that he’s unsure if he is doing the right thing. A lot of the men in the monastery are middle-aged while two of them in Luc and Amedee (Jacques Herlin) are old men. Yet, they’re all playing a role for God as they’re also men who are willing to talk to the people in the village without wearing their robes and just talk as men.

Beauvois’ direction is very mesmerizing for the way he creates the film that relies more on what these men are trying to day-by-day rather than go into a lot of conventional ideas to move the drama forward. The film starts with a quote from the Book of Psalms that reveals who these men are as they’re just trying to be equal to those they help and those they’re trying to deal with. Shot on location in Morocco, Beauvois’ direction is truly engaging for the wide depth of field shots he creates for many exterior settings while maintaining an intimacy in the meetings that these men are having. There’s some amazing scenes such as a helicopter flying above the monastery where the men try to counter the noise with their chanting to establish their defiance against the forces that want them to leave.

Since this is a film that relies more on what these characters are dealing with, the lack of plot does allow the audience to get to know these individuals as who they are. There is no music score heard in the film except for a climatic dinner where Tchaikovsky’s Swan Lake overture is played where the camera focuses on these men and their reaction to the music. It’s all about this moment where it could be the last time they all eat in peace. The overall work that Beauvois creates is a gripping yet intoxicating drama that explores a group of men who are trying to hold on to their faith in the face of war.

Cinematographer Caroline Champetier does brilliant work with the film‘s gorgeous cinematography from the way the Moroccan mountains and hills are shot in the evening through some of the daytime exteriors for its sunny and rainy days to play out the peaceful work the characters live in. Editor Marie-Julie Maille does superb work with the editing to maintain a very straightforward approach to its cutting while maintaining a leisured pace for the film. Production designer Michel Barthelemy and art director Yann Megard do excellent work with the art direction for the look of the villages as well as the monastery that plays to the world these men live in. Sound editor Loic Prian does incredible work with the sound from the intimacy of the chants in the room to the raucous clash of sounds in the helicopter vs. chants scene.

The casting by Brigitte Moidon is phenomenal for the ensemble that is created as it includes notable small performances from Farid Larbi as the terrorist leader, Olivier Perrier as a returning monk named Bruno late in the film, and the trio of Abdelhafid Metalsi, Sabrina Ouazani, and Abdallah Moundy as local villagers who are close with the monks. For the roles of the eight monks, there are amazing performances from Jacques Herlin as the elderly Amedee, Olivier Rabourdin as the very confused Christophe, Philippe Laudenbach as the anxious Celestin, Loic Pinoch as the determined but scared Jean-Pierre, Xavier Maly as the calm Michel, and Jean-Marie Frin as the low-key but loyal Paul. Michael Lonsdale is great as the asthmatic but determined Luc who is the monks’ head doctor as he’s concerned with doing his job and help the people. Finally, there’s Lambert Wilson in a marvelous performance as the monks’ leader Christian who is trying to do everything he can to help everyone while trying to see what he feels is right for his monastery in this tense time.

Des hommes et des dieux is a powerful yet captivating drama from Xavier Beauvois. Featuring a great ensemble cast led by Lambert Wilson and Michael Lonsdale, it’s a film that serves as a great testament of how faith can defy such awful forces like war without trying to give out some message. It’s also a film that is very human for the way it humanizes the monks as just men who are just doing a deed for God. In the end, Des hommes et des dieux is a mesmerizing film from Xavier Beauvois.

© thevoid99 2012