Tag Archive for 'france'

Les Choristes

Les Choristes

Les Choristes (France/Switzerland, director Christophe Barratier): Les Choristes is an unabashedly sentimental film that reminded me very much of Italian films Ciao Professore! and especially Cinema Paradiso. It tells the story of a failed musician named Clement Mathieu who finds himself taking a job in desperation as the supervisor of a reform school in 1949. The school is run by an authoritarian tyrant and the students are a bunch of delinquents who taunt him immediately with shouts of “Baldie!” and “Bullet Head!”. Mathieu decides to begin a choir as a sort of project to help with discipline and soon has the respect of the students. He also discovers a boy with a remarkable voice and does his best to encourage this gift while harbouring a crush on the boy’s mother. This is not totally original stuff, but the story is told well and the performances are strong, most especially by Gérard Jugnot as the rumpled and lonely Mathieu. The resemblances to Cinema Paradiso are quite strong. Both films use a flashback structure. In Cinema Paradiso, a famous film director is called home to his village to attend the funeral of his old mentor, the projectionist at the local cinema. In Les Choristes, it’s a famous orchestra conductor, called home to bury his mother, but the event triggers a visit from an old school chum who unfolds the tale of their music teacher Mathieu. The film is a “man behind the man” tribute to those quiet souls who push others to greatness while often not feeling very successful in their own lives. As someone who studied to be a teacher, I love this kind of story, even if it is not always fashionable in “serious” cinema circles. The emotions are real and are helped tremendously by a fabulous musical score and beautiful choral pieces.

The director was proud to be presenting the film in Toronto after its huge success in France, where it sold eight million tickets and a million copies of its soundtrack CD. We were also treated to a performance after the screening of two of the songs from the film by another boy’s choir, and the standing ovation was almost inevitable.

Film’s Web Site: www.leschoristes-lefilm.com

9/10(9/10)

Breathless (À bout de souffle)

Breathless (À bout de souffle)

Brooke and I saw Jean-Luc Godard’s Breathless (À bout de souffle) (1960) the other night. It was my first time seeing it, though Brooke has seen it several times before, and says it’s one of her favourite films. Frankly, I had mixed feelings (though I gave it an 8 on IMDB). Some people can immediately dissect a film into its parts and can expound at length on the editing, the cinematography, the sound design, and lots of other “technical” aspects of the movie. I’ve never been able to do that, at least not upon my first viewing. I guess I have to ingest the whole before I can talk about any of the parts. And for me, the whole was somewhat unsatisfying, even disturbing.

I tried to distance myself from the obvious charms of the movie: Paris in the Sixties, exciting “French New Wave” flourishes like jump-cuts, the gorgeous Jean Seberg. And what I found was a film about two people with no souls. Michel and Patricia are completely amoral and aimless, and I could find no sympathy for them. This always makes watching a film difficult for me. And even though Brooke grudgingly agreed with me, it was still clear that she loves the film and I, well, not so much.

I was struggling to figure out whether it was just me being contrary, so I grabbed Pauline Kael’s book For Keeps off our bookshelf. Imagine my relief when I read:

“What sneaks up on you in Breathless is that the engagingly coy young hood with his loose, random grace and the impervious, passively butch American girl are as shallow and empty as the shiny young faces you see in sports cars and in suburban supermarkets, and in newspapers after unmotivated, pointless crimes. And you’re left with the horrible suspicion that this is a new race, bred in chaos, accepting chaos as natural, and not caring one way or another about it or anything else…The characters in Breathless are casual, carefree moral idiots.”

I think seeing the film for the first time at the age of 39 has a lot to do with it. If I’d seen it twenty years ago, I may not have suspected that the characters are poseurs, that even the filmmaker may be a bit of a poseur. I might have mistaken their chilling soullessness for “cool” and tried to imitate it.

When I see Breathless again (and I think it is worthy of another viewing), I certainly will pay more attention to the revolutionary camerawork and editing. With the moral vacuum at the heart of the film now recognized and named, that seems to be the only place left I’d want to look.

Amelie

Le Fabuleux destin d’Amélie Poulain (France, 2001, Jean-Pierre Jeunet, director) Between Jeunet’s dazzling visual tricks and Audrey Tautou’s dazzling beauty, it was hard to look at the subtitles at all (might be a reason to learn French in itself!). Jeunet (Delicatessen, The City of Lost Children) has made an incredibly romantic movie that celebrates all of life and love (not just romantic). As in all romantic comedies, Destiny is a major character, but only in this film will it use a suicidal goldfish, a globetrotting lawn gnome, and a one-armed fruit vendor as its henchmen. Perfect! 10/10!!

Final Two Films

My final two films of the film festival:

  • Before Night Falls - Directed by artist Julian Schnabel (who also directed Basquiat), this tells the heartbreaking true story of Cuban writer Reinaldo Arenas, persecuted, imprisoned, and finally allowed to leave Cuba, only to die of AIDS at the age of 47. Beautifully shot, and lovingly acted, with cameos from Sean Penn and Johnny Depp. Any biographical film that makes me want to run out and find more about the subject is a success. 8/10
  • Comédie de l’innocence - This one was creepy. A child decides one day that his mother is not his real mother, and takes her to an address where he says his real mother lives, a woman who lost her own child in a drowning accident two years earlier. Very Hitchcockian, especially the music, and left a few loose ends (or maybe I just couldn’t make the connections). Excellent underplayed performances, especially by the child, and Isabelle Huppert as his mother. 8/10