Archive for Juliette Binoche

In Seine

Posted in FILM with tags , , , , on June 25, 2016 by dcairns

image-1

Having failed to appreciate MAUVAIS SANG as an ignorant youth, I’d given LES AMANTS DU PONT-NEUF the go-by — I probably wouldn’t have appreciated it then either. Fast-forward to a couple of days ago, and it made the perfect climax to my Edinburgh Film Festival activities. The comparison crossed my mind while watching — This is like Kusturica’s ARIZONA DREAM — both are spectacular, romantic, crazy, excessive and overlong films, documenting in convincing detail the tribulations and ecstasies of amour fou. You could double-bill them but you would be pretty sore and tired after that arse-marathon — the Carax, like the Kusturica, wears the viewer down with its stop-start narrative and wide-eyed intensity.

Denis Lavant is remarkable as ever, and Juliette Binoche is remarkable as never before or since. Carax seems to be channeling the energies of his beloved LA PETITE LISE and things like MENILMONTANT, while recombining story elements from Chaplin’s CITY LIGHTS (imprisoned hobo, blind girl, new miracle cure) in sometimes dark and disturbing ways. The combination of grand, budget-busting spectacle, documentation of the degraded depths of the underclass, almost psychotic levels of romanticism, and bursts of fantastical whimsy could easily be distasteful — Carax operates without a safety net, trusting that he can crush our reservations with sheer passion and overkill.

Les amants du pont neuf

Favourite moment among many: we track along looking at the pavement of the bridge, littered with empties from Lavant and Binoche’s cheap wine binge, eventually discovering their slumbering figures — which are the same size as the bottles. Carax has constructed a photorealist street curb and debris at many times life-size, and posed his actors within in. You could fit half a Binoche in that bottle. Astonishing. Nothing like it occurs elsewhere in the film, which is part of its impact. As with Herzog’s EVEN DWARFS, I think we should assume not that our leads have shrunk, but that the world has grown fantastically overnight.

Is it a nod to THE SMALL BACK ROOM? If so, like the rest of the film, it’s so extreme as to be almost a physical impossibility as nods go. The kind of nod produced by a guillotine blade.

It’s amazing Carax is still alive and working. This seems like the kind of orgasmic death-throe cinema that SHOULD kill a director.

Advertisements

Jamais

Posted in FILM with tags , , , , , , , , , , on June 22, 2016 by dcairns

vlcsnap-2016-06-22-09h03m54s417

I think I’d seen MAUVAIS SANG (ridiculously translated as THE NIGHT IS YOUNG) in around ’88, but maybe I only saw bits, on TV. At that time I thought Beineix was cool and I found Carax annoying. Now, though Carax is perhaps a bit precious at times, I regard my late-teenage affection for BETTY BLUE and DIVA as mostly youthful folly, and Carax seems like the true filmmaker.

vlcsnap-2016-06-22-09h06m20s631

What’s black and white and red all over? This film, though it also has grey, and blue (so it can do Godardian tricolor shots) and the hero’s jacket is a sort of leather harlequin thing with a lot of yellow, a colour that appears otherwise only on the ubiquitous yellow cigarettes the cast smoke. Those yellow cigarettes, and the film’s fictional STD and sinister big pharma company (“Darley-Wilkinson” — always say the name twice, ominously — and those initials recall Griffith, from whose vaults Carax is stealing a disease called cinema) show Carax’s interest in world-building — a few little clues tell us that we’re at a slight remove from our usual reality. I suspect Carax of being inspired by REPO MAN.

The only movie flat-out quoted with a clip is the Pathe-Natan production LA PETITE LISE, seen on a TV set, and referenced in dialogue whenever the young Denis Lavant speaks of Julie Delpy’s character (“Ma petite Lise”). LA PETITE LISE, by the way, is the most important earl sound film that few of you will have seen. Like that film’s hulking hero, Lavant is newly released from prison but his freedom is to be short-lived…

vlcsnap-2016-06-22-09h03m04s007

Lavant is so young! Bizarre and compelling and strangely beautiful, except when he smiles, terrifyingly, a lipless lesion crammed with crockery abruptly splitting his porous deadpan. He looks like if Lee Marvin had a monkey.

Fiona had been utterly charmed by Michel Piccoli in DIABOLIK. “Inspector Ginko is so NICE! He’s the nicest man in this whole film festival.” I don’t know if he’s that nice, but Piccoli plays him that way. He’s back here, older and heavier (Carax cruelly makes his aging crooks play lots of scenes shirtless. Crime seems very very homosocial, to say the least, despite the presence of Juliette Binoche.

vlcsnap-2016-06-22-09h05m23s271

Binoche is already slightly annoying. But also sweet and gamine and surprising and stunningly photographed.

vlcsnap-2016-06-22-09h05m17s782

The film is so fey — and it’s probably forty minutes too long — its B-movie antecedents moved their crime stories forward along with their romances, whereas this one drops the heist for huge stretches. I wish Carax was just 1% more into plot, or brought a friend along who was. But the charming bits are charming indeed, and the visuals beautiful, and Carax’s use of music, which somehow frustrated me as a kid (he cuts it off dead sometimes, like JLG) now seems generous and ecstatic.

EIFF is showing a season of Cinema du Look classics — LES AMANTS DU PONT-NEUF tomorrow!

In-Flight Mentaltainment

Posted in Comics, FILM, Television with tags , , , , , , , , , , , , , , , , , , , , , , , , on February 5, 2015 by dcairns

edgeof

Movies seen while going to America —

EDGE OF TOMORROW, directed by Doug Liman and written by THE USUAL SUSPECTS’ Christopher McQuarrie along with mockney specialists the Butterworth Brothers, which was really good by big Hollywood standards. Emily Blunt excellent as always — I knew she could do almost anything but I couldn’t have sworn she could be bad-ass. Tom Cruise is also really well-used, and has a huge character arc, starting out a bit like James Garner in THE AMERICANIZATION OF EMILY or if Don Draper got drafted. It’s really funny to see Cruise playing a conflict-averse wuss. And by the end he has of course become an unstoppable killing machine on the side of good. Yes, it’s GROUNDHOG DAY meets INDEPENDENCE DAY, but it’s refreshing to see a film with so many interesting narrative notions.

zzilla

By contrast —

The recent GODZILLA remake has a scene with an upturned Eiffel Tower, just like EDGE OF TOMORROW, but the one in the kaiju knock-off is the miniature imitation version in Vegas, which kind of sums up the relationship GODZILLA has to a proper movie. Thanks to some hectic editing they even manage to make Bryan Cranston look like a bad actor. If you’ve ever wanted to see Juliette Binoche outrunning an explosion, this is the film for you, and I hope you choke on it.

Fans complained that there was a bare minimum of the big green guy, and not very much of Cranston. The filmmakers had completely miscalculated their audience’s needs, like the makers of the previous US GODZILLA, who thought the public wanted Godzilla as an atomic bad guy stomping on cities for kicks. The great minds at Legendary Pictures grasped the fact that Godzilla, as he is known and tolerated by millions, is thought of as a benevolent colossus who breaths radioactive fire on other, nastier monsters, and only kills thousands of people by accident, a bit like America or Israel. What they failed to grasp is that audiences want to look at Godzilla doing these things for longer than ten minutes out of two hours. Ideally, what the film should have delivered is a 300 foot tall Bryan Cranston, in his Heisenberg guise (“Say my name!”), fighting the big lizard all over New Mexico. Or else Bryan Craston AS Godzilla, with Aaron Paul as Godzooky*.

znovman

Pierce Brosnan is walking away from this explosion because it Simply Doesn’t Interest Him.

I usually seek out bad movies to watch on planes because I don’t like to see good ones “adjusted to fit my screen” or “edited for content.” THE NOVEMBER MAN isn’t totally awful — maybe it’s the best film Roger Donaldson could make now —  but the only thing that could have made it memorable would be a downbeat, 70s-style ending. A happy ending on a thing like this (spy thriller) suggests that the security services are basically benign and that rotten eggs will be filtered out (with one of those egg filters you can buy in the shops, I suppose — couldn’t find a way to write this sentence without a mixed metaphor) and that leaves the movie feeling pretty inconsequential.

Olga Kurylenko looks amazing, though, and after she gets over a regrettable impulse to smile on one side of her mouth to convey ‘tude, she acts well. Pierce Brosnan is someone I always enjoy, though I’m a bit fed up of him always playing a widower. It’s started to feel like a tacky exploitation of his own biography. He’s a fun presence, though — I watched PERCY JACKSON & THE LIGHTNING THIEF on a plane once, and the sight of him as a centaur was inexplicably hilarious. They should really have cast him as the statue of Talos from JASON AND THE ARGONAUTS though, so they could have the credit “with Pierce Brosnan as Bronze Person.”

Movies seen returning from America —

Flying back home was somehow much quicker. I watched an episode of Louie and one of Veep, neither of which I’d gotten around to. Clearly I will have to see more, they were both excellent. Man with hangover in Veep: “Find me a hamburger made out of aspirin, I’m going to get some air and be sick in it.”

ztraindrag

Then Fiona and I watched HOW TO DRAIN TRAIN YOUR DRAGON II, which was very nice, as good as the first one. Excellent vocal perfs, beautiful images (Roger Deakins advised on the virtual cinematography, as he did on RANGO), great action and storytelling and a lot of emotion. This one felt more like a flattering portrait of America — we always seek peace but if we need to fight, we will kick ass” (like GODZILLA) which made me feel a little uncomfortable. But for sheer craft approaching artistry, I couldn’t fault it.

Then I looked at X-MEN: DAYS OF FUTURE PAST (the title seems a riff on killer Bob’s rhyme in Twin Peaks) which was something of a return to form for Bryan Singer, only the plane landed seconds before it was over. It has the best bullet-time ever, with cheeky Evan Peters running around the walls of a circular room like a cross between Fred Astaire and Gary Lockwood.

The movie is action-packed, has a reasonably complicated story, and the dispute between Professor Xavier’s get-along-with-the-humans philosophy and Magneto’s kill-them-before-they-kill us attitude remains compelling, even as all the other characters are more interesting AS characters. And somehow, Jennifer Lawrence fighting in blue rubber pasties never got boring to look at.

BTW, United Airlines have the best safety film I’ve ever seen. We saw it twice in a week and didn’t get bored. The idea is novel, the production values immense, it’s all very slick, there’s some wit, but what helps most of all are the little non-professional moments, such as the flight attendant at around 1.54 who can’t stop laughing for unknown reasons.

*Purists will say that any miniature Godzilla should be called Minilla, after the pudgy reptile star of SON OF GODZILLA, but I recall the Hanna-Barbera series The Godzilla Power Hour, which, though completely without any artistic merit whatsoever, was, episode by episode, a lot shorter than any Godzilla film from either Toho or Tristar or Legendary.