Archive for Jean-Patrick Manchette

All Action

Posted in FILM with tags , , , , , , , , , , , , on October 2, 2020 by dcairns

Ben Wheatley’s FREE FIRE (2016) and Hélène Cattet & Bruno Forzani’s LET THE CORPSES TAN (2017) could be lumped together as part of a stillborn European cinema movement — the all-action movie. Critics have often — inaccurately — complained that Hollywood action movies are just continuous violence uninterrupted by plot. They do strive to give that impression, but are more likely to be following the 80s Joel Silver/Simpson & Bruckheimer format of an action sequence every ten minutes, and the cause-and-effect narrative motivation is usually very strong. Part of the reason they often feel so simplistic in story terms is that they have a this-follows-that structure, like a treasure hunt, or a guys-on-a-mission thing, and use the three-act structure religiously.

So the idea of taking literally what critics complain about is kind of an interesting one. What would it feel like if everything was an action set-piece. In theory, very intense, but in theory also, you could still tells a complex story and have interesting characters — because as writer David Gerrold once attested, you CAN and SHOULD use action as a CONTINUATION of plot and character, not as a SUBSTITUTE.

Movies usually managed the PLOT part — I remember being struck by an elaborate chase/battle in the piece of crap AN AMERICAN WEREWOLF IN PARIS, which left the characters and situation back where they started, so that the whole thing could have been removed without affecting the story one jot. The feeling was unfamiliar, because even the lamest action movies don’t usually make this elementary blunder. Even if the action sequence consists of Character A trying some stunt to resolve their difficulties, and the stunt doesn’t work, and they end up stuck with the same difficulties, some form of story progress will have been made, even if it’s only the discover of “Well, THAT stunt didn’t work.”

David Cronenberg, asked whether his CRASH was not just a series of sex scenes with no story or character, said he didn’t see why story and character couldn’t be developed by a series of sex scenes. The same should certainly be true of violent scenes.

Where most action movies do go wrong is in character development. Everybody becomes an unstoppable killing machine once the conflict kicks off. There is no plausible reason why Benny, the barroom piano player in BRING ME THE HEAD OF ALFREDO GARCIA, should turn out to be such a skilled gunman (“able to kill four men with three bullets,” as Alex Cox may have put it — I don’t recall the exact figures) other than that Peckinpah is indulging in self-parody. Making different characters differently effective at violence is an obvious tool that’s underused — generally the leading lady is the only one allowed to be frightened or weak, leading Schwartzenegger to proclaim that women are kind of a drag in action cinema. But check out how ALIENS manages to characterize, at least in comic-book terms, a whole bunch of different characters in what is effectively a single protracted dramatic/action situation. And most of them are military folks, and they’re STILL varied.

So, LET THE CORPSES TAN is the one we watched, part of my exploration of Jean-Patrick Manchette. So far I’ve read one of his novels (Fatale), one set of comic-book adaptations (by Jacques Tardi) and seen two movies, the other being Yves Boisset’s FOLLE A TUER. He’s a writer whose work can best be described as “propulsive” and he seems like a good match for this approach.

The film isn’t actually all shooty-gun stuff, but it manages to feel like a single runaway panic attack of mayhem, hallucinations and virtuoso set-pieces. It would be fair to say it never lets up. Fiona, feeling a bit sleepy, disengaged from the “plot” entirely and just let it flow over her — maybe enjoying it more as a result. I was impressed by the style, then let down by the ending. It might seem axiomatic that if your movie is all climax, when it finally stops it will feel anticlimactic, inconclusive, but I could imagine all sorts of solutions that would have made it more satisfactory, chief among them the classic Hollywood trick of setting up a puzzle piece, letting the audience get distracted into forgetting it, and then paying it off at the end when they’re not expecting it. That doesn’t happen here.

The filmmakers have colossal panache and there are techniques here which border on the unique (every filmmaker should see it), and the whole thing looks terrific. But it seems that even with a book to base it on, they’re not great at story. It’s hard to care about anything in this psychedelic charnel-house. It’s good to see Elina Lowensohn again, and her character’s indifference to the chaos around her is intriguing, but we wait in vain for her attitude to change — since change of attitude is a defining trait of characterisation in stories. (Hollywood, with its redemption narratives, insists of wholesale character reform, but I think the minimum of development we’re entitled to is a change of APPROACH by each character.)

The danger of a movie that’s continuous movement is that it could all become paradoxically static. LET THE CORPSES TAN slams into that obstacle at 100mph, and the fact that the impact doesn’t slow it down is part of the problem.

Kidnapping, murder and plagiarism

Posted in FILM, literature with tags , , , , , , , , , , on July 22, 2020 by dcairns

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I plonked the top image on Twitter because I thought it was a striking line, and Fredrik Gustaffson immediately spotted where it was stolen from and posted the original.

FOLLI A TUER and FROM HERE TO ETERNITY. They don’t really have anything to do with one another so I’d call it a swipe rather than a hommage. But swipes are, in a way, more admirable: the filmmaker is simply trying to make his film better than he’d be able to do using his own imagination alone. Hommages are a bit masturbatory.

So, follow Fredrik, you are unlikely to regret it.

Yves Boisset, the swiper in question (unless he got the line from his source novel, Jean-Patrick Manchette’s O Dingos…O Chateaux), seems unable to frame an attractive shot, and crams his compositions with ugly sets, costumes and a few ugly people, but this is in fact a very good thriller with a little extra philosophy/character.

 

Marlene Jobert, last seen (by me) in René Clement’s RIDER ON THE RAIN, always seems to be having rather a hard time of it. She’s released from a psychiatric hospital some years after killing a man in (as yet) unexplained circs, goes to work for millionaire Michael Lonsdale (seems nice enough, what could go wrong?) as nanny to his disturbed charge, Thomas Waintrop. A terrific little actor but a bit of a handful. Plus, all of Lonsdale’s domestic staff seem to have been recruited from the asylum or the penitentiary: his elevator boy was a cat killer, and his chauffeur a serial rapist. What’s going on here?

Then Jobert and Waintrop are kidnapped by Tomas Milian and things get really bad. I can’t offhand recall a child or child actor being put through so much slapping and threatening in a film. The movie seems misanthropic (and opens with a quote from WC Fields) but has a lot of heart, too. Diseased heart, possibly.

 

Worth a peek.

FOLIE A TUER stars Mélancolie Mau; Tepepa; Hugo Drax; Gustave Dominici; Warok; and Col. Günther Reza.