La peau douce (1964)

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Aka Silken Skin/ Soft Skin. I’ve learned that men’s unhappiness arises from the inability to stay quietly in their own room. While flying to Lisbon, Portugal to give a lecture, writer and magazine editor Pierre Lachenay (Jean Desailly), encounters beautiful air stewardess Nicole (Françoise Dorléac) and winds up spending the night with her at the hotel where they both happen to be staying. What was intended to be a one-night stand becomes a tumultuous extramarital affair once he returns to Paris and his wife Franca (Nelly Benedetti) and little daughter Sabine (Sabine Haudepin) . Pierre tries to keep the affair secret but arranges a lecture trip to Reims which he thinks he can use as cover for their relationship but when his wife suspects him, she snaps and determines to enact terrible revenge … Ever take a good look at yourself? This passionate tale of adultery still stirs the emotions, firstly through the extraordinary performance of Dorléac (who used to be viewed as the more talented of those two famous French acting sisters, the younger being Catherine Deneuve) before her tragic demise. It’s heightened by an outrageously urgent and eloquent score by Georges Delerue and photographed with his usual limpid approach by Raoul Coutard, lending tenderness to the sexual attraction as it is complicated by the usual deceptions, occasionally tipping into farce. This guy cannot stop himself from doing the wrong thing at every juncture. Every car trip turns into an imperilled journey, planting the seeds of a wholly unnecessary tragic dénouement. A totally ordinary story is elevated to something like a thriller by staging, characterisation and pace. All the leads are tremendous:  Desailly is a wholly inadequate lover and husband, Dorléac a perfectly modern young woman, Benedetti an exquistely melodramatic woman scorned, as she sees it. An elegant disquisition on the unfairness of love, missed opportunities and the passing of youth as a tawdry and rather unmotivated love triangle falls apart. Written by director François Truffaut with Jean-Louis Richard (who has an uncredited role as a man harassing Franca in the street), this tale of amour fou is almost operatic in its pure conventionality and one ponders its morbid focus when one realises it was mostly shot at Truffaut’s own apartment with the suspenseful influence of Hitchcock fresh in his mind after a summer interviewing the great man for the classic tome, Hitchcock/Truffaut.  The ending is gobsmacking. Think of me

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Rendez-vous (1985)

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Men waltz around you. Aspiring and promiscuous teenage actress Nina (Juliette Binoche) arrives in Paris expecting success. She becomes involved with a gentle real estate agent Paulot (Wadeck Stanczak), his roommate, suicidal sex show performer Quentin (Lambert Wilson) and theatre director Scrutzler (Jean-Louis Trintignant) who ends up finally defining her life after her highly dysfunctional sexual liaisons … Do you hurt people often? A remarkably febrile, intense work whose eroticism seems tightly sprung and dangerous from the off with a powerhouse cast creating indelible characters totally upfront about sex. André Téchiné (working from a screenplay by himself and director to be, Olivier Assayas) turned La Binoche into a star in a role that went to her only when Sandrine Bonnaire proved unavailable and the canny casting includes Trintignant who had of course co-starred with Bardot in another sensual drama which broke new ground, Et dieu créa la femme. However it is Wilson’s moody, perverse and terminally volatile Quentin that lingers long in the memory, the tragic fulcrum and catalyst of so many desires in this ensemble. An astonishing, provocative film that still feels wanton and off limits.   I wasn’t afraid before

Fantastic Beasts: The Crimes of Grindelwald (2018)

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That’s poetry, not proof. It’s 1927. The Magical Congress of the USA is transferring Gellert Grindelwald (Johnny Depp) to be tried for his crimes but he escapes with the aid of his associate Abernathy (Kevin Guthrie). In London, Magizoologist Newt Scamander (Eddie Redmayne) encounters Leta Lestrange (Zoë Kravitz) an old pure-blood classmate from Hogwarts who has always been somewhat disturbed and is now engaged to Newt’s brother Theseus (Callum Turner), who works in the Auror office at the Department of Magical Law Enforcement. Newt turns down the request to find Credence Barebone (Ezra Miller) in Paris but Albus Dumbledore (Jude Law) persuades him to change his mind because Grindelwald is searching for Credence in order to help him implement a New World Wizarding Order … She has eyes just like a salamander. The JK Rowling franchise trundles on and it gets off to a speedy start, with Grindelwald assuming someone else’s identity and making good his escape. This triumph of production design and effects has lots of things to recommend it, not least big plot moves in a heavily stuffed story that’s laced with humour and irony. It’s based on the pull of family ties – brothers, sisters, the need to know your true identity – and that’s what balances a fun adventure that has a lot of good moments, a more rounded and sympathetic Newt and a great sense of jeopardy from Depp as the deranged proto-fascist albino seeking to elevate wizards above muggles. Familiar faces, well developed characters, a lot of narrative threads and a lot more to come. Adapted by Rowling and directed by David Yates. We were closer than brothers

Celine and Julie Go Boating (1974)

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Aka Phantom Ladies Over Paris. Usually, it started like this. When stage magician Céline (Juliet Berto) goes traipsing across a Parisian park, she unwittingly drops first a scarf, then other objects which librarian Julie (Dominique Labourier) cannot help but pick up. So begins a fanciful and obsessive relationship between the two, which soon sees Céline sharing Julie’s apartment and each of them playfully switching identities in their daily lives. As they increasingly indulge their fantasies, they find themselves trying to rescue a young girl Madlyn (Nathalie Asnar) from a supposedly haunted house that Julie worked in and Céline lived next to as a child.  Now it appears to be filled with ghosts (Barbet Schroeder, Marie-France Pisier, Bulle Ogier) …So, my future is in the present.  One of the greatest films ever made, Jacques Rivette’s fragmented narrative of two feisty young women started with two stories by Henry James (The Other House;  The Romance of Certain Old Clothes), giving him a bit of a head start, then he liberally sprinkled some Alice in Wonderland into the mix, created a drama of identity, a rescue fantasy, a story about storytelling, a movie about the cinema, sometimes speeding up and sometimes slowing down, a fiction about fictional creation (because ‘to go boating’ means to take a trip), and came up with a fantasy that adult life could always be as good as your childhood dreams. This is a woman’s film in the very best sense that we can imagine and is of course the source of Desperately Seeking Susan. Devised by Rivette and the stars with input from Ogier and Pisier,and Eduardo de Gregorio, this is a remarkable film of disarming charm, once seen never forgotten, especially with its 194 minute running time. A female buddy film like no other. It doesn’t hurt to fall off the moon!

Genius (2016)

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You took the words right out of my mouth. In 1929 Maxwell Perkins (Colin Firth) is the successful book editor known for working with F. Scott Fitzgerald (Guy Pearce) and Ernest Hemingway (Dominic West). He lives peaceably with wife Louise (Laura Linney) and their five daughters and is taken with the manuscript O, Lost by a new writer, Thomas Wolfe (Jude Law) and agrees to work with him. Its success (with the title Look Homeward, Angel) causes issues between Wolfe and theatre designer Aline Bernstein (Nicole Kidman) an older married woman with whom he is involved and the tensions escalate in the years it takes to produce his next book, Of Time and the River, which requires massive revision. He moves to Paris and upon his return to New York, he quarrels with Max and turns to another editor… Might want to read this one. Adapted by John Logan from the legendary biography of editor Perkins by A. Scott Berg, this was always going to be a tricky proposition:  how to you make the internal mechanics of the writing world interesting? How do you externalise the creative process? Here, it’s all about relationships. Perkins had the reputation he had because he knew how the writer’s mind worked and how to make a book sell and here it’s a talent dedicated specifically to the spectacularly gifted Wolfe, a seemingly rare genius who however needs someone to finesse his excessively prolix work. This is an acting masterclass with rhyming scenes and dialogue that must have been a dream to perform, rhythmic and quotable and filled with nuance and payoffs. To be a novelist, you have to select. You have to shape and sculpt. It’s telling that Fitzgerald and Hemingway are supporting characters working as a kind of echo chamber to the central story. Will anyone care about Thomas Wolfe in 100 years? Ten years? When I was young, I asked myself that question every day/ I used to trouble myself like that every day. Now I ask myself, “Can I write one good sentence.”  Wolfe and Berg are fully fleshed out, real and rumbustious and rich, with their letters used by Logan to create scenes that evoke difficulty and even jealousy with the women in their respective lives. The production design and editing are detailed and impactful but this is essentially illuminating about two men, big characters with a way with words, their working friendship and a thorough exposition of negotiating through a creative collaboration focusing on the importance of having the right editor for the right writer and the best book it is possible to produce. Fascinating and brilliantly acted, this is a buddy movie of a very different variety which ironically might need a little editing itself but it’s a great excursion into the business of big books and the world of the Great American Novelist. Directed by theatre grandee Michael Grandage. I don’t exist any more. I’ve been edited

The Dreamers (2003)

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Before you can change the world you must realize that you, yourself, are part of it. You can’t stand outside looking in.  In May 1968, the student riots in Paris exacerbate the isolation felt by three youths:  American exchange student Matthew (Michael Pitt) and twins Théo (Louis Garrel) and Isabelle (Eva Green). Having bonded over their mutual love of cinema, Matthew is fascinated by the intimacy shared by Isabelle and Théo, who were born conjoined. When the twins’ bohemian parents go away for a month, they ask Matthew to stay at their apartment, and the three lose themselves in a fantasy straight out of the movies that dominate their daydreams … I was one of the insatiables. The ones you’d always find sitting closest to the screen. Why do we sit so close? Maybe it was because we wanted to receive the images first. Adapted by the late Gilbert Adair (how I miss him) from his novel The Holy Innocents (inspired by Cocteau’s Les Enfants Terribles) this insinuates itself into the mind and the senses as surely as the French brother and sister at its heavily beating cinéphile’s heart. Scrupulously tracing the evolution of a romantic sensibility alongside a political education, this merges a rites of passage story with social and personal revolution in intelligently provocative fashion, fusing Adair’s narrative with director Bernardo Bertolucci’s sympathy for youthful yearning. And it’s sexy as hell, this movie about movies and movie lovers and passion and politics. Green is enigmatic and brave and beautiful, while the boys’ attraction for one another, emerging as a homosexual encounter in the original screenplay, is sacrificed by Bertolucci, whose sexual depictions are always of the hetero variety. There’s a delectable selection of movie clips and songs on the soundtrack of this startlingly beautiful dream of a film. The first time I saw a movie at the cinémathèque française I thought, “Only the French… only the French would house a cinema inside a palace”

Bande a Part (1964)

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Aka Band of OutsidersA Who-Dunit, Who’s Got-It, Where-Is-It-Now Wild One From That “Breathless” director Jean-Luc Godard!  Smalltime crooks and cinéphile slackers Franz (Sami Frey) and Arthur (Claude Brasseur) spend their days mimicking the antiheroes of Hollywood noirs and Westerns while pursuing the lovely Odile (Anna Karina) whom they meet at English class. The misfit trio upends convention at every turn, through choreographed dances in cafés or frolicsome romps through the Louvre trying to set a record for fastest circumnavigation. Eventually, their romantic view of outlaws pushes them to plan their own heist, but their inexperience may send them out in a blaze of glory – just like their B-movie heroes … Isn’t it strange how people never form a whole?Ostensibly an adaptation of a novel called Fool’s Gold by Dorothy Hitchens, that’s just a skeleton on which the mischievous Jean-Luc Godard drapes his love and admiration of Hollywood genres (and Karina) over a series of apparently improvised riffs in this lightly constructed charmer. A few clues for latecomers: Several weeks ago… A pile of money… An English class… A house by the river… A romantic young girl... It’s a splendidly rackety affair, with several standout scenes providing the postmodern matrix for much of pop culture (and a name for Quentin Tarantino’s production company). It’s Godard at his most playful, joyous and audience-pleasing, exploring what it’s like to not want to grow up and how it’s always possible to have fun with like-minded people. Then, you go a little too far and someone goes and spoils it all for everyone. Maybe. Sheer pleasure. Godard said of the dance scene: “Alice in Wonderland as re-choreographed by Kafka”. A minute of silence can last a long time… a whole eternity

Colette (2018)

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You’ve done something important. You’ve invented a type. After moving to Paris from the rural idyll of Saint-Sauveur-en-Puisaye to marry her much older critic/publisher lover Henri Gauthier-Villars (Dominic West) known as ‘Willy’, young Sidonie-Gabrielle Colette (Keira Knightley) agrees to ghostwrite a semi-autobiographical novel for him. Its success soon ultimately inspires her to fight for creative ownership while working in his writing factory and overcome the societal constraints of the early 20th century as they share their lover duplicitous Louisiana debutante Georgie (Eleanor Tomlinson), making them jealous of each other’s sexual escapades.  Colette has to write more and more to make ends meet as Willy fritters away the earnings made in his name alone. Colette begins a relationship with Missy (Denise Gough), a wealthy Lesbian who cross-dresses and this new lover accompanies Colette on a music hall tour as she attempts to assert her power away from Willy, performing controversial shows as an actress. Her life with Willy is fatally compromised when he sells the rights to her fictional character, ‘Claudine,’ the heroine of the bestselling series of books bearing his name but which are her life and thoughts entirely… You still need a headmaster. An attractive rites of passage narrative evoking a gauzy rural France and the late nineteenth century café society where men and women live radically different lives. That is, until Colette decides she wants what her philandering husband has and rails against the accepted norms even as he smooths and polishes her writing and adds the prurience that the pulp market requires. He is revealed as an increasingly tawdry, jealous type despite having an abundance of charm and social success. Her creative growth is calibrated against their mutual infidelity – interestingly with the same woman and then sated by different people.  The idea of identity and authorship and Willy’s liberal education of his innocent but yearning wife is portrayed as a drama of exploitation that has both profit and loss at its heart. This battle of the sexes biography plays out against the trials of the (re-)writing life and it elicits good performances but never really sparks the kind of emotional notes you would expect considering the astonishing story of this racy belle époque heroine, not to mention the sheer sensual joy of Colette’s body of work which came of age as the world embraced modernity. Written by director Wash Westmoreland and Rebecca Lenkiewica and the late Richard Glatzer to whom the film is dedicated. The one who wields the pen writes history

 

 

 

Bonjour Tristesse (1958)

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It’s getting out of control. I just wish I were a lot older or a lot younger. Designer Anne (Deborah Kerr) travels to the French Riviera to visit her old lover Raymond (David Niven), the wealthy playboy husband of her recently deceased friend. His pampered seventeen-year old daughter, Cecile (Jean Seberg), afraid that the rather prim Anne’s presence may alter their hedonistic lifestyle, attempts to drive a wedge between the woman and her father, with the help of his latest French mistress Elsa (Mylène Demongeot) when Raymond proposes marriage to Anne.  Little do they know that Anne’s proper attitude hides a fragility that could lead to tragic consequences and when they set their plot in motion everything begins to come undone ... She’s prim, and prissy, and a prude. And a know it all. And I hate her! This adaptation of Françoise Sagan’s slim but shocking bestseller by Arthur Laurents has lost none of its power. The father-daughter double act beautifully played by Niven and Seberg has the sense of perversion and decadence that twists the material’s bittersweet threads into something that still raises eyebrows:  incest, perhaps? Producer/director Svengali Otto Preminger once again subjects his famous young Saint Joan protegée to a kind of trial of inquiry – this time for her libertinism – in a flavoursome morality tale that delineates corruption with admirable precision as the pieces are moved into place.  Stunningly imagined in widescreen, in both monochrome and colour, by cinematographer Georges Périnal, with a classic score by Georges Auric and that legendary title song, performed by Juliette Gréco. The poster is of course the work of Saul Bass. Beautiful, scandalous and compelling, this is where the Nouvelle Vague begins. Anne had made me look at myself for the first time in my life. And that turned me against her – dead against her

Jeune et Jolie (2013)

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You have an adventure but ultimately you’re alone. Seventeen-year old Isabelle (Marine Vacth) decides to lose her virginity to Felix (Lucas Prisor) while on summer holiday. But she wants more sex and takes up a secret life as a prostitute, having encounters in hotels with older men, some more sordid and cruel than others. She meets elderly Georges (Johan Leysen) regularly but he dies during one bout and the police inform her mother (Géraldine Pailhas) about her underage daughter’s dangerous lifestyle …  She’s bad to the bone. This frank exploration of female sexuality by auteur François Ozon pulls its punches somewhat – being on the one hand an erotic drama; the other, a piquant coming of age story with an especially feminine twist albeit through the male gaze, until the tables turn. It lacks the acerbic wit of the mordant thrillers Ozon makes but there is a marvellous change in the bourgeois family dynamic when this beautiful girl asserts her female power. Who knows why a lovely girl would do this? Does she know herself? We are left with no clear idea but this boasts a kindness towards the protagonist, emblemised by the use of the poem No One’s Serious at Seventeen by Rimbaud and a soundtrack dominated by the songs of Françoise Hardy. The film ends on a mysterious smile worthy of the Mona Lisa herself. You know what they say – once a whore, always a whore