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America as Seen by a Frenchman
In the late 1950s the French documentarian François Reichenbach took his camera to the USA for 18 months. America as Seen by a Frenchman (aka L’Amerique Insolite) is the result, a snapshot of a country caught at a moment in time, where the tension between homogenising mass consumption and the individual pursuit of happiness runs through almost every frame. Reichenbach starts out in California and then winds his way across the country, finally ending up in New York. The opening shot is eye-catching – two American sailors staring out from a ship as it pulls into San Francisco Bay and under the Golden Gate Bridge – and Reichenbach continues to deliver seductive imagery at … Read more
Medusa Deluxe
“Who scalps a hairdresser?” The key line in Medusa Deluxe, an ingenious low-budget whodunit set entirely inside a regional hairdressing competition, where big characters vie to produce the hairdo that will grab the judges’ eye. Or they would have vied, if one of their number, Mosca, hadn’t wound up dead, the victim of the bizarre scalping incident. Who might have done it? An old flame, a rival, a cranky judge, an angry security guard or any one of a number of young female models, all of whom have enough spare energy to murder any number of people who get in their way. Now, the paramedics are here tidying away Mosca’s scalped body and … Read more
To Live and Die in LA
To Live and Die in LA – the title is almost an invitation. Its director, William Friedkin, though born in Chicago, did live in Los Angeles, and that’s where he died aged 87 last week (I’m writing this on 18 August 2023), till the end a combative, charming, rough-edged, cultured man of many parts. The director who gave us the magisterial The French Connection and the blood-thinning The Exorcist stumbled at the box office with 1977’s Sorcerer (for all its merits nowhere near as good as the film it’s based on, The Wages of Fear) and then as good as fell off the edge of the world with Cruising, a film that looks … Read more
Red, White & Royal Blue
Hands across the sea – and down each other’s trousers – in Red, White & Royal Blue, a cute love story about the son of the US president falling for a British prince. It is the old Fred Astaire/Ginger Rogers tale of two people who really don’t get on, until they suddenly do. The snobbish, standoffish Prince Henry and the loud American Alex Claremont-Diaz, who are thrown together at one protocol-heavy event after another, where they regularly irritate the hell out of each other until things come spectacularly to a head at the wedding of the prince’s older brother, when the pair of them somehow end up under the wedding cake, covered in … Read more
Seconds
John Frankenheimer’s Seconds could almost serve as an emotional template for Polanski’s Rosemary’s Baby, made two years later in 1968, though Frankenheimer is working in black and white and brings much more of the live TV aesthetic to bear on his cool, highly influential horror movie – Face/Off, Total Recall and The Wicker Man also owe it a debt, and both Park Chan-wook and Bong Joon Ho are big fans. Seconds is the third, confusingly, in Frankenheimer’s so-called Paranoia Trilogy (after 1962’s The Manchurian Candidate and 1964’s Seven Days in May) and its Saul Bass opening titles neatly sum up what’s to come – distorted giant faces in extreme close-up fill the screen … Read more
Robust
Robust (Robuste in the original French) looks like it’s been made explicitly with Gérard Depardieu in mind. Writer/director Constance Meyer insists she that she wrote it for both Depardieu and co-star Déborah Lukumuena. But while Lukumuena does nothing but cover herself in glory, it’s Depardieu who’s the irreplaceable element. Because? Because it’s about an aged actor who has got a bit beyond himself. Georges (Depardieu) is unpredictable, wilful, prone to not turning up on set, prone also to making pronouncements about the state of the world – robust ones, to use the sort of adjective deployed by ageing red-faced males locked in endless combat with the pronoun-sensitive, offence-avoiding wokerati. It’s tempting, more than … Read more
Ninotchka
Because Ninotchka stars Greta Garbo, was directed by Ernst Lubitsch and was written by the great Billy Wilder and Charles Brackett, along with Walter Reisch, it tends to get an easy ride when talk turns to the momentous American films of the golden era. It was released in 1939 too, Hollywood’s annus mirabilis, which also helps. If it’s not quite the classic it’s often billed as it’s not far off. Its problem – let’s get the bad stuff out of the way to start with – is that it solves the question it poses early on, leaving its star slightly with nowhere to go. The question: how would a stern, utilitarian Communist react … Read more
You Hurt My Feelings
Nicole Holofcener’s You Hurt My Feelings is a midlife-crisis movie. A people-with-money movie. A first-world-problems movie. Prickly and trivial, easy to dislike sight unseen. Smart. A bit French. Talky. New York Jewish. The sort of film where middle-aged people drink wine and chat in restaurants while subtexts dash about beneath the surface. Like her movies Friends with Money or Enough Said or Please Give, then, except this time the knot Holofcener is worrying away at is honesty, and whether it serves a useful function in a loving relationship. Beth (Julia Louis-Dreyfus) is an author wrestling with her latest book, which is no good, though that isn’t what her husband Don (Tobias Menzies) is … Read more
Je t’aime, je t’aime
Part modernist experiment, part sci-fi, part exploration of memory, Alain Resnais’s weird 1968 drama Je t’aime, je t’aime (aka I Love You, I Love You) is the place to go if the prospect of watching his more celebrated first two movies, the formally and formidably “difficult” Hiroshima Mon Amour and Last Year at Marienbad, give you the collywobbles. It’s clear even before the film gets going that something odd is going on. The massive titles in bright red and the haunting, ethereal choir singing over the opening credits eventually give way to opening scenes in which Resnais’s framing is also doing odd things – too close, not close enough, it’s all quite unsettling. … Read more
Secret Sunshine
At the beginning of 2007’s Secret Sunshine we meet a young mum whose husband has recently died. During the course of the film bad luck strikes again, or as the IMDb coyly (and rightly so) puts it, “another tragic event overturns her life”. And the woman loses her mind. What fun, you might think, a woman in a tight corner having more crap dumped on her. And yet. There is a lot to see and digest in Lee Chang-dong’s 2007 drama (which also goes by the name Miryang or even Milyang – a transliteration difference of opinion) and two brilliant performances at the centre of it. One is by Jeon Do-yeon, as Lee … Read more
The Smiling Lieutenant
Gay – in the old sense – is probably the best way to describe 1931’s The Smiling Lieutenant, a blithe, smart, quick and gossipy comedy from director Ernst Lubitsch starring Maurice Chevalier as the military man in question. Chevalier, as French as they come and not making the slightest effort to hide it, plays a very Viennese womanising army officer who in very short order meets the love of his life, the violinist leader of a female orchestra, only to end up shanghaied into marrying the princess daughter of a visiting king, after a mix-up over who exactly the lieutenant was smiling at as the royal procession whizzed by. I know, everyday stuff. … Read more
Female Agents
Jean-Paul Salomé, director and co-writer of Female Agents (Les Femmes de l’Ombre in the original French), got the idea for his 2008 film from an obituary. While in London in 2004 he read about Lise Villameur, who’d just died aged 98. During the Second World War she’d been an agent for the French Section of Britain’s Special Operations Executive. Parachuted into France to set up her own cell and run her own agents, Villameur was described by the folk at SOE training school as “quite imperturbable… would remain cool and collected in any situation . . . she was very much ahead of her fellow students”. That’s exactly how Sophie Marceau plays Louise … Read more
