A frame from PARIS N’EXISTE PAS (1969), Robert Benayoun’s uber-cool art flick about bohemian modern art types, one of whom starts experiencing weird instances of objects moving around the room by themselves — I was reminded of David Bowie’s Berlin period hallucinations of furniture gone walkies, and also Maupassant’s short story What Is It? in which the narrator is plagued by the discovery that ALL furniture enjoys an active life the moment our backs are turned, just like the toys in TOY STORY.
The movie — which somewhat resembles Clouzot’s kinetic art melodrama LA PRISONNIERE from the same period, only without the s&m roleplay and with Serge Gainsbourg, puffing away at a cigarette holder in an invigorating embodiment of the concept of “louche” — could have been merely trendy, with its flash-cuts of cartoon panels to create a kind of cinematic Roy Lichtenstein feel, but I think it has more on the ball than that. Also, it’s fun spotting the cartoons of Hugo Pratt, Charles Schultz et al. I doubt copyright was paid.
It’s a good film to be watching in my ultramodern flat in Paris, loaned to me by Francoise Ickowitz, grand-daughter of Bernard Natan. Francoise has, I think inherited some of her aunt’s taste — producer Monique Natan, Bernard’s niece, was responsible for producing Alain Jessua’s comic-book murder yarn JEU DE MASSACRE (1967) and Jean Rollin’s LE FRISSON DES VAMPIRES (1971), films of bold colour and pop sensibility.
When we interviewed Francoise for NATAN at her apartment — a sensational pop art shagging palace in a penthouse towering over Paris with Bond villain aplomb — we had to carefully frame out all the amazing decor, which was utterly fabulous in a CLOCKWORK ORANGE/Warhol kind of way, but sort of inappropriate as a backdrop for a sombre discussion of her grandfather’s life and death. But it would be worth inventing a whole new film to shoot there just for the interior design and art.