“Little Women”– Movie Review

This week at The New York Times’ Times Talks series, there was an advance screening of the drama, “Little Women”, adapted and directed by Greta Gerwig. 

Synopsis

As four sisters reach maturity in the 19th Century, will they be able to live life on their own terms in adulthood or are they destined to a life circumstances will impose on them?

Story

As an aspiring young author, one tough lesson that Jo March (Saoirse Ronan) is forced to learn early on is that if you are going to write a story where a woman is the main character, then by the end of that story, your heroine must either get married or die – otherwise, your story may never get published.  In these times shortly after the end of The Civil War, women who desired a career of some kind were expected to toe the line rather than do as they pleased. But Jo is not pursuing this line of work as a mere lark: she is doing it in part because she is trying to make money to help out her family, but also because she’s got the talent and a passion to write.

Jo has three sisters at home – Meg (Emma Watson), Amy (Florence Pugh) and Beth (Eliza Scanlen).  They are about as tightly-knit as sisters can possibly be. Marmee (Laura Dern) is their mother; she cares for the family while their father (Bob Odenkirk) serves as a chaplain in the waning days of the war.  Over time, the four sisters develop their own interests (some of them of the romantic variety) as well as their own personalities and preferences in life. Beth is a gifted pianist, Amy considers a career as an artist and as for Meg, she wouldn’t mind having a more traditional life of settling down with a husband and raising children. 

Fate has a way of interfering with plans and so it does with these young women:  Jo encounters occasional discouragement when her writing isn’t always appreciated; Meg gets married, but isn’t able to live the life she hoped because her husband is of limited financial means; although Amy is able to go to Paris to study painting, her affection for Laurie (Timothée Chalamet) remains unrequited because he has feelings for Jo.  The most serious problem of all belongs to Beth: she is diagnosed with scarlet fever after coming into contact with infected children. With Beth bedridden, Jo learns that she must put her writing ambitions on hold; she is summoned by Marmee to leave New York and return to the family home in Concord, Massachusetts where she will help to care for her sister.  Can Jo nurse Beth back to health and return to her writing career?        

Review

If you go onto either IMDB or Rotten Tomatoes and try to do a search for a movie adaptation of “Little Women”, you will find no less than seven versions.  The first one was made in 1933 and starred Katherine Hepburn. What makes Gerwig’s version different from the others is the fact that she doesn’t completely follow the traditional narrative of the novel from which it has been adapted.  Whether that is a good thing or a bad thing depends on how much of a purist you are; if you are expecting to see a movie that’s identical to the book, then it’s possible that you may be disappointed. 

For those that are familiar with the story and are open-minded enough to entertain the idea of seeing a different take, then the 2019 version of “Little Women” might prove to be a rather refreshing change of pace.  Here, Gerwig decided to do a couple of things that some may find unexpected: playing with time and comparing the character of Jo her creator. Regarding the issue with time, there are a number of flashbacks and flash-forwards which some may find disconcerting as far as following the main narrative is concerned (add to that all of the characters and their individual story lines and it can really seem convoluted).  The other aspect, overlapping Jo with Louisa May Alcott, actually shows another dimension – for the film, the character and the author.      

Following the screening, there was an interview with the writer/director as well as several of the cast members.  Gerwig said that she had read the book many times as a child, then, after she turned 30, read it once again. That last time, she saw the story very differently from the way she had experienced it in her childhood.  In preparing for the film, Gerwig did a tremendous amount of research on Louisa May Alcott, the author of the novel on which it is based. She discovered that Alcott’s life was very similar to that of Jo in the book in the sense that she never married and never had children.  

“The Aeronauts”– Movie Review

This week, I attended an advance screening of the new Amazon motion picture, “The Aeronauts”, starring Felicity Jones and Eddie Redmayne. 

Synopsis

When a meteorologist hires a hot-air balloon pilot to fly them both for scientific experiments, will they survive the hazards encountered in their adventure?

Story

Meteorologist James Glaisher (Eddie Redmayne) is something of a visionary:  in the year 1862, he believes if his fellow scientists can accurately and reliably provide weather forecasts, humanity as a whole will benefit because it will save money and potentially save lives.  Despite his good intentions, his colleagues scoff at Glaisher’s plan to fly as high as humanly (and technically) possible to take wind and temperature measurements, document cloud variations and record precipitation levels.  Glaisher encounters enormous obstacles when it comes to obtaining funding for his project. 

While at a party, Glaisher meets Amelia Wren (Felicity Jones), a daring balloon pilot who is well-known for her performances and death-defying acts.  He entreats her to take him flying for his scientific experiments for the weather, but she is reluctant for a number of reasons – not the least of which being a traumatic air balloon accident a couple of years earlier which resulted in her husband’s death.  Wren remains so traumatized by this incident that she has refrained from flying since then – in no small part due to the fact that she still feels partly responsible. But Glaisher is able to convince Wren to be his pilot by appealing to her sense of adventure:  his experiment will require the two of them to fly higher than anyone has ever before flown in such an aircraft.

When Glaisher and Wren finally set off on their voyage, it is a huge public spectacle – almost a form of performance art.  Shortly after taking off, their trip nearly ends before it can begin because they head into some storm clouds which causes great turbulence.  Once Wren is able to steady the balloon, they proceed, moving ever higher into the air. By the time they have reached 23,000 feet above the earth, the two mark the fact that Wren has now flown higher than any before her.  But as Glaisher insists that Wren soar so he can conduct further experiments, the temperature drops; the balloon and its passengers freeze once they attain a height of 36,000 feet. With  Glaisher rendered unconscious from hypoxia, can Wren overcome the elements to rescue them both? 

Review

When Felicity Jones and Eddie Redmayne take off into the wild blue yonder early on in “The Aeronauts”, you may be forgiven if the first thing you think is, “Will they join The Mile High Club”?  (Not addressing that one – trying to keep this as spoiler-free as possible) That aside, the film takes a few stabs at being something of a thrill ride – and not unsuccessfully – but it is ultimately a bit dull.  Fortunately, it’s relatively short (a little over an hour and a half) so the movie at least has that going for it. If you are a fan of one or both of its stars, then “Aeronauts” is a must-see; otherwise, it’s a must-skip.

As one might expect, most of the story takes place in the hot-air balloon.  From the standpoint of screenplay structure, the risk here is that the resulting film would be static, yielding the look and feel of being like a stage play more than a movie.  The way the filmmakers worked around this potential obstacle is by doing two things: flashbacks and acrobatics. Flashbacks are used to tell the backstory of the characters – both as individuals as well as how they met and became a team.  Typically, flashbacks are criticized because they can tend to impede the forward momentum; while that isn’t untrue, it does break up the monotony of watching these two riding in the gondola. 

With respect to the acrobatics, there are scenes where Jones’ character is forced into perform some rather heroic stunts in order to save both of them or to get the balloon to rise or change direction.  These moments provide rare times of suspense when an audience’s emotional investment can heighten, but there’s only so much that the filmmakers can do to make an extended ride in a hot-air balloon even remotely interesting or entertaining.  For those who want a film with a lead female character as the action hero, this might prove to be satisfying experience – but not much to offer after that.

“Waves”– Movie Review

This week at Film at Lincoln Center, there was a sneak preview of the new drama, “Waves”, starring Sterling K. Brown.

Synopsis

Will a tightknit family be able to recover following a tragedy?

Story

In South Florida, Tyler (Kelvin Harrison Jr.) is a high school senior living his best life along with his girlfriend Alexis (Alexa Demie).  While both teenagers have a bright future ahead of them, their short-term goals are clear: Alexis wants to have fun in her last year of school and Tyler wants to finish his wrestling career strong.  To that end, he enlists the aid of his father, Ronald (Sterling K. Brown) to act as something of a supplemental coach. Ronald, a former athlete himself, pushes Tyler as hard as he pushes himself as they workout together.  But perhaps Ronald is pushing his son a little too hard. 

Tyler severely injures his shoulder in a wrestling mishap; the doctor informs Tyler that he requires surgery, which will effectively prematurely end his high school wrestling career.  Rejecting surgery, Tyler tries to push himself through the pain – unfortunately, this means stealing some of the oxycodone his father uses for an old knee injury. Subsequently, when Tyler can no longer wrestle, he supplements his drug abuse with alcohol abuse.  Once he finds out that Alexis is pregnant and refuses to have an abortion, the two have a huge fight which results in a breakup. His substance abuse only worsens at this point. 

When Tyler follows Alexis to a party, they argue over the abortion once again – but with Tyler out of control, he hits her, causing Alexis to perish.  Tyler’s life is now ruined as he is sentenced to a long stretch in prison. With the incident being highly publicized, his younger sister Emily (Taylor Russell) now finds herself ostracized in her final year of high school.  At home, Ronald and his wife Catharine (Renée Elise Goldsberry) are experiencing such a strain on their marriage, it’s impacting the ability of both to earn a living; by now, it’s unclear whether they will be able to remain together.  Will this family stay intact while Tyler does his time?         

Review

As a director, Trey Edward Shults does a skillful job when it comes to telling a story in a visually interesting manner.  In particular, his use of camera movement and music (NIN’s Trent Reznor is credited for the soundtrack) are particularly notable.  When it comes to the screenplay, however, there are structural and narrative issues that seriously detract from “Waves” that ultimately result in an unsatisfying experience for the viewer.  It’s a bit of a challenge to say what the story is supposed to be about: Is it about Tyler dealing with his adversity? Is it about Emily finding her life again? Is it about how the parents proceed following this setback?  Apparently, it tries to be about all three, which is where the narrative spine of the script crumbles.

“Waves” is essentially Tyler’s story up until the point at which he is sentenced (side note:  why did he plead guilty to Murder 2 instead of Manslaughter?). Thereafter, it then becomes Emily’s story and (to a lesser extent) Catherine and Ronald’s story.  This change of focus can easily throw off the audience because after spending most of our screen time following Tyler (at an estimate, more than half of the movie), now our attention is forced to switch to a character (or characters) that were previously secondary or tertiary.  The viewer’s emotional investment in them will be limited at best. It’s something of a whiplash moment.

Following the screening, there was an interview with director Trey Edward Shults and several of the cast.  Shults described “Waves” as being deeply personal and autobiographical – something of a fictional narrative about himself and his loved ones.  Originally, he conceived of it as a story about music and teens when he himself was back in high school; through the years, he matured and the story added layers.  His choices of camera movement were done as a way to get into the head and heart of the characters, providing the audience with an immersive experience through the characters’ viewpoint.     

“Little Joe”– Movie Review

This week at Film at Lincoln Center, there was a sneak preview of the new science fiction drama, “Little Joe”, directed and co-written by Jessica Hausner.

Synopsis

When a scientist develops a new plant that makes people happy, what will happen once the plant tries to manipulate humans?

Story

Alice (Emily Beecham) is one of a team of scientists working on developing a new and unusual type of plant:  one that will make its owner happy.  The catch is that the plant must be cared for as if it were a child – it needs to be touched and spoken to and kept very warm under a bright lamp.  They are anxious about its development because it is believed that once this plant is introduced to the market, it will become very popular and make a tremendous amount of money.  But working on this plant has come at a cost:  Alice’s relationship with her teenage son, Joe (Kit Connor).  

Meanwhile, Alice is being romantically pursued by her colleague Chris (Ben Whishaw), who has been working closely with her on this project.  But between her dedication to her job and her concerns over her son, Alice finds Chris to be nothing more than an unnecessary distraction.  Feeling increasingly distant from his mother, Joe starts making it known to Alice that he might be better off living with his father, who lives far away in the woods.  Alice doesn’t want to lose her son, but at the same time, she is also rather serious about her career. 

In an effort to make things better with Joe, Alice brings home one of the plants as a gift for her son.  To show her affection for him, she decides to name the plant Little Joe; Alice instructs Joe how best to care for the plant so that it will continue to grow and bloom.  But the more time Little Joe spends in the house, the more it seems to take control:  it starts to emit an unusual type of pollen which Joe inhales, resulting in a distinct personality change.  When Alice notices this, her immediate reaction is to rescue her son.  But if she does, will this also wind up causing her career to stall? 

Review

While watching “Little Joe”, one can be forgiven for thinking that you’ve seen this movie before – specifically, “Invasion Of The Body Snatchers”.  It’s certainly a different take on the concept and between the acting, settings and music, it most definitely sets an undeniably spooky tone.  Where it fails to grab the viewer, however, is in its seemingly emotional detachment.  Clearly, Alice is the protagonist in this story, but due to her dispassionate manner, it’s something of a challenge for the audience to get behind her.  The character almost appears to be heavily sedated from the very beginning. 

This is what makes Emily Beecham’s winning Best Actress at Cannes all the more baffling.  One theory could be that it was the actress’ choice to be more subdued because she was in fact a scientist.  That would be understandable but this makes the character less accessible than she would normally be if she exuded more warmth, more humanity.  While we see Alice change somewhat once she’s spent more time around the plant, the change is so subtle that it’s almost imperceptible.  Maybe that’s the point:  that people change over time, but only in the most nuanced ways.  Still, Alice is not always the easiest character for whom to root.     

Following the screening, there was an interview with director Jessica Hausner and actress Emily Beecham.  Hausner said that the inspiration for the story came from what she refers to as “The Frankenstein Myth” – that is to say, the creation that frees itself from its creator.  In this case, she sees the plant as the monster where Alice is the mother that is the creator of the child, which will eventually mature and free itself; neither the plant nor the child can be controlled.  The psychological component for Alice is that she’s questioning whether or not she’s a good mother.       

“The Cave” – Movie Review

This week at Lincoln Center, I attended the New York Premiere of “The Cave”, a new documentary by Feras Fayyad.

Synopsis

A team of dedicated Syrian physicians and nurses frantically try to help the wounded in a secluded makeshift underground hospital.  

Story

Amani Ballour should not be in this situation.  At only 30 years old, she is one of many young physicians on the outskirts of Damascus, Syria, who work in what is known as The Cave.  The Cave is a skeletal version of a hospital; it was constructed underground within a warren of tunnels to protect civilians during attacks on them led by Bashar al-Assad.  These attacks include bombings by Russian warplanes. Although there are other, more experienced doctors working there, they voted and elected Amani to be their leader at this facility; her impressive skills and leadership ability earned her this position. 

The stress of war takes its toll on everyone – including and especially the doctors and nurses working in The Cave.  At various times, we see them as human beings: they have moments of emotional distress on the one hand, yet appear deliriously happy when celebrating a birthday on the other hand.  Much of their emotional distress comes not just from the war itself, but also for their inability to better help the wounded who find their way to The Cave for treatment; this inability does not come from limited skills, but due to limited resources.  Another a source of their emotional distress is the fact that they are far from their family.   

One night, a great many people are brought into The Cave; the physicians are puzzled because these men, women and children bear no visible wounds.  Normally, the staff is treating people who were shot or hit with shrapnel from the bombings. But this was different. After detecting an unusual smell on the clothing of the children, one of the more senior doctors determines that these people were the victims of a chemical attack by Assad.  Dealing with a shortage of medicine, the doctors and nurses are forced to formulate a plan to at the very least relieve their pain, if not prevent them from dying.  

 

Review

In order to fully understand the horror of Assad’s war on his own people in Syria, it is necessary to see Feras Fayyad’s remarkable new documentary “The Cave”.  The reality of this devastation can only be fully grasped by watching this film; another thing you can better appreciate after a viewing is that the depths of Assad’s evil knows no bottom.  The more this war tries to rob its non-fighting civilians of its humanity, the brighter their humanity shines, almost as if in defiance to the man behind this battle. Director Fayyad has done an outstanding job in showing it all, as difficult as it may be to watch at times. 

Aside from the story itself (which in no way is to be trivialized), the filmmaking is amazing, especially when taking into consideration the conditions under which it was shot; in a movie theater alone, the sound of the bombs being dropped nearby was jarring enough – but imagine what it’s like when you’re just a few yards (or feet) away from them.  Additionally, there was a great shot (presumably done via a camera attached to a drone) that flew over the city; this provided a better perspective on the level of severity of the destruction that resulted from the frequent attacks.        

Following the screening, there was an interview with director Feras Fayyad and a couple of the film’s producers, Kirstine Barfod and Sigrid Dyekjær.  Fayyad says that while the doctors in this hospital do what they do to try to help, they also do it in order to survive themselves. Footage was also used from the hospital’s own surveillance cameras.  He reports that in a single night where Syrians were attacked with chemical weapons, 1500 people were killed. The producers said that the digital footage that was shot was uploaded while still in Syria, but subsequently downloaded in Sweden (where the offices of the production company are located) so as not to have any interference from the Syrian government who insists the documentary is a fake.  

“Wasp Network” – Movie Review

During the middle weekend of the 57th New York Film Festival, I attended the U.S. premiere of “Wasp Network”, written and directed by Olivier Assayas. 

Synopsis

When Cuban refugees flee to Florida, will they work to free Cuba from Castro or do they have a secret mission to ensure he has a firmer grip on the country?

Story

In the early 1990’s, René (Édgar Ramírez) works as a pilot in Cuba making short trips on a small propeller plane.  His wife Olga (Penélope Cruz) works in a manufacturing plant while they both raise two children. One day, without telling Olga, René flies his airplane to Miami, Florida and turns himself over to authorities as a defector; he tells them he seeks refuge in the U.S. to escape the authoritarian rule of Cuba’s leader, Fidel Castro.  René is then set up with a job as a flight instructor; he’s easily oriented into his new life since technically, he is a United States citizen, having been born in Illinois.

Meanwhile, back in Cuba, Olga is informed of René’s disappearance by government officials.  They interrogate her relentlessly about whether she knew of his plans and if he had shown signs of displeasure with Castro.  Olga is understandably upset for many reasons.  For one thing, René has abandoned his family. Additionally, when news of his defection comes out, René is branded as a traitor; his family is ostracized by much of society and Olga winds up being heavily scrutinized by the government.  Left to raise the children herself, Olga and René exchange letters; she informs him that they are over. 

René learns of a way he can make extra money:  he takes jobs flying over the Atlantic Ocean to drop off supplies to fellow refugees fleeing Cuba either by boat or raft.  All seems rather well-intentioned in the beginning, but soon, René is manipulated into making some other flights that are of the unsavory type:  he finds out that on some trips, he’s being hired to pick up drugs to be sold in the United States in order to fund a spy team in the U.S. whose mission is to fight anti-Castro terrorist groups in Cuba.  Once René finds out he’s caught up in illegal activity, what will he do?           

Review

“Wasp Network” has a compelling story to tell, but the way it’s told here, it’s so convoluted that it’s hard to follow.  Additionally, there are many characters whose stories turn intricate along with the main plot that various situations and events become twisted and tangled rather quickly.  By the time the film ends, you don’t feel you’ve had a satisfying conclusion because you weren’t sure what was happening previously. At the start of the picture, everything seems reasonably easy to comprehend but before you know it, there’s a clutter of information and you need a machete to get your way out.

This entanglement impacts how the viewer can experience not only the movie itself but also the performances.  When you’re caught up trying to process either what has just transpired or what is currently going on, that makes it difficult to focus on the actors, which is unfortunate.  One positive note about “Wasp Network”:  it looks great.  The locations in both Cuba and Florida provide a good deal of eye candy for the viewer, but that’s just the superficial dressing.  In some respects, this effort might have been better of as a travelogue; trying to cram too many historical facts into the story makes it messy. 

Following the screening, there was an interview with director Olivier Assayas and actors Edgar Ramírez and Wagner Moura.  While shooting “Wasp Network”, Assayas encountered various technical and political problems, especially while in Cuba.  That said, preparation was actually harder; because of many bureaucratic issues, he was not certain the film would actually happen.  Assayas felt like every day of shooting this movie was like going to war. Ramírez said the challenge for him was working on his accent to make it believable.  Moura said that as a Brazilian, he found this to be a test as well and needed to heavily rely on a coach to help him work on his accent. He supplemented learning the accent by talking to locals.     

“Sibyl” – Movie Review

 

During the middle weekend of the 57th New York Film Festival, I attended the U.S. Premiere of the new French comedy-drama “Sibyl”. 

Synopsis

When a psychotherapist quits her day job to dedicate herself to an actress in personal distress, what impact will this have on the life of both women?

Story

As a psychotherapist, Sibyl (Virginie Efira) has what appears to be a successful practice.  And yet she feels unfulfilled. Her real dream is to become a novelist. Despite having a family that depends on her profession as a source of income, Sibyl decides she must end her practice in order to write her novel.  Towards that end, she informs a number of clients that she will terminate their sessions. Understandably, a number of them are upset about this but she retains a small subset of patients whom she feels she can continue to work with while writing her book. 

As she’s winding down her practice, Sibyl gets an unexpected call from Margot (Adèle Exarchopoulos), a young actress currently going through severe personal distress.  Despite telling Margot she’s no longer accepting new patients, Sibyl reluctantly agrees to see her with the intention of referring her to another therapist.  But Sibyl gets hooked once she hears Margot’s tale:  during her current movie shoot, she’s been having an affair with Igor (Gaspard Ulliel), her costar, who is a major celebrity. To make matters even more complicated, the director of the movie happens to be Igor’s wife. 

At the behest of Margot – and with great trepidation – Sibyl agrees to accompany her to the exotic location where they continue to shoot the movie.  It is here that Sibyl begins to fully appreciate the shrewish behavior of the director that Margot had warned her about. But there is yet another challenge:  Sibyl is now being seduced by Igor. Despite the feelings of betrayal Sibyl inevitably has, she succumbs to the charms of Igor. By now, Igor is cheating on his wife (the director) and his girlfriend, Margot – who is also Sibyl’s patient.  With Sibyl having her own family back home, how will she deal with all of this?

Review

“Sibyl” can easily be filed under the category of Guilty Pleasure.  It is a fun movie, but unsubstantial. Not that there’s anything wrong with that.  It’s a film you watch if you want to feel more than think; it’s very entertaining, but doesn’t demand too much from its audience.  If you’re looking for a delightful little sexy fantasy (which is intended as more of a compliment than an insult) that can be used as a brief bit of French escapism, you’d be hard pressed to find a better choice than this motion picture.  This is a film with plenty of charm but not a great deal of gravitas, despite its efforts to attempt that.

One of the things that makes “Sibyl” a good escapist film is that it takes the viewer from an almost drab, mundane lifestyle to one of a reverie:  the glamor of the motion picture business and the intrigue of the lives of famous movie stars. Yet it manages to keep you grounded in reality: Sibyl has her own family that she has to deal with, not to mention other clients – specifically a troubled young man who is trying to come to terms with his mother’s recent death.  This is perhaps the best illustration of how “Sibyl” – both the motion picture and the character – has a heart.     

Following the screening, there was an interview with director Justine Triet.  Triet said that she had previously worked with this same actress on the movie “In Bed With Victoria” and wanted a shot at another film with her when she understood how she worked.  She said that “Sibyl” is basically watching the destruction of a person through a kaleidoscope. It is also a portrait of two women looking at each other while at two different points of their trajectory; once they cross paths, they basically exchange roles and the actress is more in control while Sybil starts to lose herself. 

“Oh Mercy!” – Movie Review

The first week at the 57th New York Film Festival, I attended the North American premiere of the new French crime drama by Arnaud Desplechin, “Oh Mercy!” (AKA “Roubaix, une lumière”).  

Synopsis

Can a police chief solve the case of an elderly woman who was murdered?

Story

Northern France is the home to Roubaix, a hardscrabble city where nothing good ever happens.  This makes it the perfect place for Captain Yacoub Daoud (Roschdy Zem) to police – especially considering he grew up there.  A French-Algerian, he understands Roubaix perfectly. In one neighborhood, Lucette (Marie Frandsen), an 83 year old woman has just died – but in this case, it doesn’t appear to have come from natural causes.  Based on the forensic evidence, it suggests she was murdered. Ligature marks around the woman’s neck seem to indicate she was strangled. Why and by whom? 

During the investigation, Lucette’s neighbors become “persons of interest”; Claude (Léa Seydoux) and Marie (Sara Forestier) are roommates.  These two young women live in an apartment a couple of doors down. When other leads turn up empty, the police start to concentrate on Claude and Marie.  Both women are brought into police headquarters for questioning where they are interrogated separately. Each woman seems to want to implicate the other; while both women obviously want to avoid prison, Claude has a major stake in the outcome of this case – she has a six year old son currently living in a foster home and is worried she may never see him again.

After spending the night incarcerated, the two women are questioned together in order to reconcile their stories.  It eventually comes out that Marie is in love with Claude, who cannot reciprocate Marie’s affection. Whatever degree of participation either one had in this crime, Marie does not want to be separated from Claude, no matter what.  In order to iron out matters, Daoud and his colleagues take Claude and Marie back to the scene of the crime in order to show the police what each did and how it was done. But when the two quibble over details in the story and it becomes unclear what the truth is, can the police hold them accountable?  

Review

Two years ago, Desplechin’s “Ismael’s Ghosts” played at the New York Film Festival; it was a sometimes entertaining hit-or-miss movie but a story in which the director seemed to be quite comfortable.  An unusual turn for Desplechin, “Oh Mercy!” is well-told in terms of displaying police procedures and humanizing the police captain in charge of the investigation.  However, given that it is based on a true story, it might be the case that the director tried too hard to stick to the facts and sacrificed some of the drama that could have made the film a more engaging experience for viewers.  

What might have enhanced “Oh Mercy!” a bit more could have been learning about the two suspects.  Instead, we see this story through the eyes of Capt. Douad and we learn whatever he learns when it happens; maybe this is to keep it a mystery to the audience as well as the police.  Also, perhaps to illustrate Douad’s versatility, we see him investigating other crimes in the area; there’s a considerable amount of screen time spent on this when the time could have been better spent with background information about the two suspects.  The other things Douad is concurrently working on seem a distraction.     

Following the screening, there was an interview with director Arnaud Desplechin.  Desplechin said the reason why he decided to make “Oh, Mercy!” is because his last few movies have been extreme fiction and he wanted to change by doing something that was based on true events.  He originally got the idea by watching a documentary about this murder case, which occurred in his hometown over a dozen years ago. In making this film, he went back to watch Hitchcock’s “The Wrong Man” and relied heavily on it for making “Oh, Mercy!”.  Roubaix, a rough neighborhood in northern France, is where his parents still live; he used visiting his parents as a ruse in order to research this picture.

“Liberté” – Movie Review

On the opening weekend of the 57th New York Film Festival, I attended the U.S. premiere of the new historical drama, “Liberté”, written and directed by Albert Serra.

Synopsis

During the 18th century, libertine members of the French upper crust gather in a forest clearing overnight to have an orgy.  

Review

Normally, there is a detailed story description following the synopsis in these movie reviews.  There is no such story description here because there’s literally nothing to describe; the synopsis pretty much says it all.  Above and beyond that, there’s no plot, no structure, no story. Combine that with the fact that the sex in these scenes is more weird than erotic and you wind up with a pretty boring movie.  “Liberte” serves as an excellent reminder that if you’re going to throw an orgy, make sure you hire a good caterer – because after the unusual sex, there’s nothing much that’s of interest here. 

The fact that it’s outdoors at night obviously poses a problem; everything is so dark that it’s sometimes difficult to discern exactly what is going on.  Come to think of it, at times, that might actually be a blessing. Some shots are better left unseen. When you have a movie as wild and unconventional as this one certainly is, you can be forgiven for assuming some of the action is crazier than what is actually happening in any given scene.  It’s one thing to be unorthodox and unconventional, but by the time the film has concluded, you had better make sure that the audience will feel that it was worth putting up with.        

Following the screening, there was an interview with director Albert Serra.  Talking about the shoot itself, Serra said that the schedule was difficult for many people.  Since the movie takes place overnight, they had to film from 9:00PM until 5:00AM. He tried to make an avant-garde movie that felt something like a psychedelic trip.  The film was shot using three cameras and all of the actors were present for every day of the shoot but not all of them were necessarily used. This wound up creating a great deal of tension on the set.  Serra added that this motion picture was about a group of lost people who alternate between being exhibitionists and voyeurs. 

“Portrait Of A Lady On Fire”– Movie Review

On the opening weekend of the 57th New York Film Festival, I attended the New York premiere of the drama “Portrait Of A Lady On Fire”, directed by Céline Sciamma and starring Adèle Haenel and Noemie Merlant.  

Synopsis

When an artist is hired to paint a portrait of a woman who’s about to be married, what will happen when the two women wind up falling in love with each other?

Story

In late 18th century France, Marianne (Merlant), an artist, is hired to paint a portrait.  Héloïse (Haenel) is about to be married to a man in Milan – a man whom she’s never met nor is in love with.  Employed by the mother of Héloïse, Marianne must travel by boat to their mansion at a remote location in Brittany where she learns there’s a catch and it’s a big one:  Héloïse must never know her portrait is being painted. Instead, the story Héloïse is told by her mother is that Marianne is being enlisted to act as her companion – someone to accompany her during long walks on the beach.  

With this highly restrictive condition in mind, Marianne must surreptitiously set up an easel in her room and be careful to hide it should Héloïse visit.  While they embark on their daily constitutionals, Marianne is careful to take note of various details about Héloïse – her hair, her hand placement while sitting and most notably, the sadness that is unavoidably visible in her eyes.  When Marianne can sneak in a quick sketch, she does so – otherwise, she just has to memorize how Héloïse looks in a given instance. This causes some unintentionally awkward moments when Héloïse catches Marianne eyeballing her.  

When Marianne confesses the truth to Héloïse and finally shows her the finished portrait, Héloïse is displeased by her dour countenance.  As a result, Marianne destroys the painting. Héloïse’s mother must leave for a few days, so she orders Marianne to re-paint the portrait; it must be finished by her return and if she likes it, Marianne will be paid.  But in the days while the two women are alone, a mutual attraction develops and they engage in a sexual relationship.  Given that these women are in love, will Héloïse refuse to marry and instead take up with Marianne or will Héloïse abandon her and proceed with the nuptials?                 

Review

In “Portrait Of A Lady On Fire” (an excellent title only fully appreciated once you experience the movie), director Céline Sciamma brilliantly displays her skills as a visual storyteller.  Among the best examples comes early in the film when Héloïse’s face is treated as a big reveal for both the audience and for Marianne.  Other small things like placement of a mirror in a particular shot or the progress of the portrait which helps to illustrate the passage of time.  While her screenplay was deservedly winner of the Best Screenplay award at this year’s Cannes Film Festival, Sciamma’s directing choices should not be overlooked.

The ending of “Portrait Of A Lady On Fire” is nothing short of stirring; by the time the closing credits start, you feel utterly destroyed.  This is a tragic love story – there is a death, but of a romance, not of a person.  It is also about sacrifice over selfishness, to the detriment of one’s soul.  This is a film that will stay with you for days and days wondering what would have happened to these women if their story took place in the 21st century.  Ultimately, that is the real story: the social pressure that inhibits the so-called “forbidden” romance.      

Following the screening, there was an interview with director Céline Sciamma and the film’s stars, Adèle Haenel and Noemie Merlant.  Sciamma said that the last shot of the movie – which was particularly impactful – was actually done during the middle of their shoot.  Her intent was to show a tragic love story but with a feeling of joy at the end. Haenel mentioned that during filming, she experimented with delivering her lines using different inflections to see which worked best.  Merlant noted that the various subtle gestures and glances of her character were not of her own invention; instead, they were explicitly written in the shooting script.