Went to an avant-premiere showing of Jean Valjean organised by the Lions Club. It goes on general release on the 19th.
It was a very faithful rendition of the first chapters of Les Miserables, and perhaps a bit too faithful as no surprises at all. But the cinematographer obviously had a ball in the Luberon and there were several no expense spared theatrical sequences which were fun to watch.
It sort of reminded me of the French equivalent of a Merchant Ivory production (for those who remember those). Solid cast, good costumes and make up, locations chosen with precision, and carefully put together to have just enough pace. The main actor really put effort into expressing emotion with his face, the others also well casted. Apart from the urchins who looked as if they had come straight from a parisian stage school.
So nothing wrong with it at all. Had it not been a charity event we wouldn’t have bothered, but it was a pleasant way to spend 98 minutes. So good if you have time to spare or fill and like Les Mis. But it won’t blow your socks off.
Le gâteau du Président, an Iraqi film based during time of Saddam Hussein when, on his birthday, one chosen pupil from each school had to make him a cake. Hard when dirt poor and in a country under international sanctions.
The plot is about the 9 yo girl who was chosen and her efforts to get the ingredients and bake this cake - so a slightly fantastical comedy of errors as she, her pet cock Hanni and a schoolfriend try to do this.
But the part that was fascinating is that it was filmed entirely in Iraq, some in a city (probably Baghdad?) and much in the Mesopotamian marshes and her marsh village. I only had a vague notion of marsh arabs and was gripped by this depiction of a way of life that continues despite everything. Very beautiful landscape too.
Apparently Hasan Hadi the filmmaker turned down funding that required him to make the film in Jordan or Morocco and insisted it be filmed in real places in Iraq.
A lot of the filming was done from the little girl’s perspective (height), which gave it an added drama. Plus the depiction of Iraq in time of Saddam Hussein was also powerful in cinematic terms.
So these things overcame the wobbly plot and largely amateur wooden actors to make a very interesting and absorbing film that is worth seeing. And one hopes that it indicates a good future for this Iraqi filmmaker and the Iraqi film industry - which is virtually non existant.
It was like watching a mash-up between classic Japanese Edo wood blocks and a full on Western. And very funny. With some remarkable caricatures among the actors, with amazing faces.
I don’t think I have knowingly been to see a Western, but strangely recognised so many of the ideas and clips. I had to look it up but this film was plagiarised in a Fistful of Dollars, to the extent that the US producers were taken to court.
Also curiously Japanese in the fluidity of the moral compass, as the main Samurai was not entirely the good guy or the bad guy. But of course came out on top at the end. My understanding is that Westerns are normally clear cut between good and bad,
It was also hugely curious as to why this was shown. A very strange choice as not part of a Japanese week, or 1960’s classics and doesn’t seem to link to anything else on the programme this month. A lucky dip perhaps? I will have to find out how programming happens in Art& Essai cinemas.
However easy to watch, made us laugh and worth the time.
Saw it many years ago, and it’s fun spotting the influences on Sergio Leone/ Clint while nevertheless thinking of them as two very separate genres. Driving through the southern Spain of Leone’s movies a few years ago, I felt a similar sense of similar but not the same. However once one starts playing that game of associations, you can construct all sorts of weird Venn diagrams - I’d toss this one into the mix. :-
The Seven Samurai was basically ripped off wholesale for The Magnificent Seven and The Hidden Fortess was a major inspiration for George Lucas’ Star Wars.
Plus fort que moi. The sub-titled version of UK film “I swear” about the life of John Davidson, the Tourettes campaigner. And who famously said “fuck the queen” at his MBE ceremony.
And also of course the centre of the huge fuss about racist language at the BAFTA’s earlier this year. Where I believe the BBC were hugely at fault for not defending him, and Michael Jordon and whoever the other black actor was should have shrugged it off.
A sweet, feel good film. Balanced the humour with the very dark side of having Tourette’s well. Maxime Peake had strong role which she played well, of course. And the pacing and script managed to keep the interest going.
I think the French audience expected something more showy than Galashields from a film set in and around Edinburgh.
This week, Arte is beginning a season of Iranian cinema; glancing through the programme, Shirin Neshat’s name caught my eye - I’ve long known her striking work as a fine art photographer and video artist, but didn’t know she’s also made films. However, Sunday evening is my weekly renovation video viewing session - Martijn Doolaard et al, so I’ll watch it tomorrow evening.
A documentary by Philippe Béziat who I like. A symphony orchestra needs creative camera work since everyone is sitting and looking in the same direction. An absolutely illegible montage that mixes the works (without ever naming them), the conductors (without ever naming them), rehearsals at concerts and recruitment competitions… few original ideas. The first 15 minutes focused on a single conductor Klaus Mäkelä, not the orchestra. All the other conductors are only named in the end credits, even Herbert Blomsted. I was looking forward to an in depth analysis of what makes an orchestra tick, and just got sound bites. Ones that hinted at interesting stories but none appeared.
The on’y interest to me was hearing what the orchestra sounds like from sitting in it.
The Christophers. A simple storyline of avaricious children trying to get 8 of their famous father’s paintings finished so they can inherit a fortune.
What held it for me was Michaela Cole, a face I could sit and watch forever, and Ian Mckellen being Ian Mckellen in all his glorious grumpiness. James Cordon played the son, but slightly woodenly. I struggled with the motivation for some of the twists and turns, but it was a lighthearted fun film for a Sunday afternoon in air conditioned cinema.
‘Pressure’ with the ever brilliant Andrew Scott as the weather analyst who had to convince Eisenhower to delay the D-Day landings by 24 hours is coming our way next week! It’s in VF & VOST.
Engrossing and powerful film about a woman masquerading as a soldier in 17th century Germany, and continuing to do so after the war. Shades of Martin Guerre.
Shot in black and white, the cinematography was great with some wonderful lighting and interior scenes, as well as the costumes /faces. And well edited. So many films I end up thinking go on for too long and lots could have been cut out. This was a sparse 90 minutes with few superfluous scenes so it does grip you.
Main character played by Sanda Hüller (Zone of Interest) who was strong as not an easy role.
Overall story line was she (he) returns from war and fineagles her way to persuade a village that she is the rightful heir of tumble down farm. Then - without wanting to give too much away - she ends up having to marry neighbours’ daughter and they have a child. Bits of story line are ambiguous in places!
All goes swimmingly for a while. The couple form a bond and the farm thrives. But the truth starts to come out when she gets an anaphylactic reaction to bee stings and falls into a coma. And then the film gets very dark and grim. There is no happy ever after.
Enjoy is not the right word for such a dark film, but I’m very glad to have seen it and it is one I will remember.
And food for thought re gender and their stereotypes.
