Showing posts with label 1983. Show all posts
Showing posts with label 1983. Show all posts

Thursday, October 24, 2024

«Edith and Marcel» (1983)

Tonight all France is boxing/singing with you

Two symbols of France – Marcel Cerdan and Edith Piaf, - started to make their name in history on the eve of the Second World War. Then, in 1948 they met in New York City and started their ill-fated romance (if you quote Hymne à l'amour «nous aurons pour nous l'éternité...»). Nevertheless, the film was panned by the critics. I don’t understand why.

«Edith and Marcel» captures the spirit of that age and the sweet melancholy of Piaf’s song. They are two completely different people – capricious bohemian Edith and silent fighter Marcel, - but their ride is filled with joy and immature silliness. Nevertheless, we all know what will happen on the 28th of October 1949.

Still, the film is not biographical, like «Le Bon et les Méchants», it is more a fantasy trip on the basis of real events. The film is filled with the symbols of that age, including «Gone with the Wind» and love letters between persons separated by long distance. To add a little touch of how ordinary people invent their phantasy life, Claude Lelouch supplements the parallel line of love story between POW Jacques Bonhomme and aristocratic Margot de Villedieu.

Summarizing, «Edith and Marcel» is long and engaging voyage. I could say only one thing - don’t hesitate to take that voyage with Edith and Marcel.

Sunday, February 3, 2019

"The King of Comedy" (1983)


Better to be king for a night, than a schmuck for a lifetime…

In 1976, after the release of Taxi Driver, John Hinckley Jr. became obsessed with Jodie Foster. He unsuccessfully tried to stalk her at the Yale University. After that, he decided that a murder of the US President would properly impress Jodie Foster. So, on the 30th of March, 1981, there was an assassination attempt on Ronald Reagan.

Such extraordinary stories go way out of the normal boundaries and they become a subject of the wildest discussions. There are a lot of «normal» events, like the celebrities being stalked by obsessed autograph hounds, would-be lovers and would-be celebrities.



A 34 years old Rupert Pupkin is a classic loser. He is courier, who lives in some New York slum and nobody ever pays any serious attention to him. In his other life, Rupert is an avid autograph hound and the King of Comedy. One day, he is able to impose himself on the famous Jerry Langford and Rupert hopes, that his success is within the reach. When the reality disappoints him a bit, he decides to take some radical actions…

The 1970s in the US was an era of the harshest economical-moral crisis caused by, among other, by the Vietnam war defeat and Watergate. In the US, there were a lot of veterans, as Travis Bickle, who were willing to perform their own justice. That is why, Ronald Reagan said in his first inaugural address that «we are too great a nation to limit ourselves to small dreams» and pledged, that he would do anything to fight the crisis of the 1970s.



In the 1980s, Americans were again persuaded that they could anyone they want to be. The TV was full of glamorous soap operas, comedy shows and success stories of some inner-city kid. Cinema also took a U-turn – instead of depressing dramas, stepped out action movies with tough guys.

A lot of inspired people, took out loan on luxury things and unaffordable fancy homes, but nobody would give a loan to Rupert Pupkin. Despite that, Rupert never wanted a Mercedes, he always wanted to be together with Lisa Minnelli and Jerry Langford.



In his dreams, he and Jerry are old buddies, and he would get married with Rita right on the show. Rupert doesn’t care about differences between reality and fantasy and he really believes, that they will mix together. When he is a bit wrong, Rupert would do anything to mix it together.

Sounds a bit familiar, eh? All of you wanted to be famous in order to snub your childhood bullies and haters? All of you wanted to smile sinisterly to those, who always said that you will not achieve anything and nobody will never look at you? Well, we consider ourselves an adequate people and we are trying to achieve our goals by a rather traditional means.




Despite that, there is an old fact that the most bullied man is the most dangerous, because no one can predict his moves, especially when he is psychologically unstable. And as one critic have rightly pointed out, that the main danger of Rupert is that ordinary viewer could easily identify himself with the hero.

Happily, the state has not taught Rupert to handle weapons and murder people, but there are other ways to reach your «fifteen minutes of glory» and, maybe, become a celebrity afterwards. In closing, let me say that Martin Scorsese made a good film about negative aspects of a «celebrity culture». You could even say, that a hero of the 1970s was Travis Bickle and a hero of the 1980s was Rupert Pupkin.

Saturday, November 22, 2014

Mortelle randonnée

I've decided to inaguarate this blog by writing review of my favorite Isabelle Adjani film - Mortelle randonee.



In Brussels, a private detective called The Eye, tries many times to find out which girl, from a class photo taken in 1962, is his beloved daughter Marie. Every year he calls his ex-wife Madeleine and calls a different girl on the photo, but always misses. The Eye gets an assignment to investigate the mysterious girlfriend of Paul Hugo – wealthy shoemaker heir. He tracks down Lucie Brentano relatively easy and finds the requested information about her. The next day, he discovers how Lucie is getting rid of Paul Hugo's corpse. Instead of calling the authorities he tracks down the heroine, who is now called Eve Granger, and follows her to Nice…

Most critics say Mortelle Randonnée is the definitive neo-noir, but this film couldn’t be categorized in just one genre. Claude Miller, the talented apprentice of the Nouvelle Vague cinema, who has worked as assistant with Francois Truffaut, Jean-Luc Godard and Jacques Demys, cunningly mixes different genres. Mortelle Randonnée is, one could say, the mix of absurdist tale and noir.

Mortelle Randonnée has a dreamy-like atmosphere: heroine, planning her activities by checking horoscopes, telepathically connecting heroes, supporting characters, which act like a pulp fiction heroes. The Absurdist atmosphere is created, not least, by the Carla Brey soundtrack. Her music sometimes sounds like typical American noir jazz, but sometimes also like absurdist tale symphony.

The Eye at first acts as the angel-guardian of the heroine: gets rid of the bodies, presents her favorite cigarettes, and telepathically tries to warn her against meeting indecent people. An inattentive viewer might believe Isabelle Adjani’s heroine is the long-lost daughter of The Eye. But later The Eye, driven by jealousy, destroys the only chance of happiness for his "daughter" and this leads to the inevitable finale. Catherine Leiris, as we would later know her real name, with her modus operandi of looking for a fatherly figure and killing him, and her later telling stories of her fathers - who are really her ex-victims – reminds us of Anna Karina’s heroines in Godard movies and Truffaut tragic heroines. This film has a strong psychoanalytic tune, especially concerning repetition compulsion and doubles.

Mortelle Randonnée is undoubtedly Michel Serrault benefice, his acting, as The Eye is superb: constant voiceover, self-talking and telepathic advices to his "daughter". Isabelle Adjani gets less screen time but her acting is superb. She shows us a variety of persons: the sweetly naïve student Lucy Brentano, the arrogant top-model Eve Granger, the tragedy-broken Catherine Leiris, and so on. To all those, who say Isabelle Adjani is only fit to play drama queens and a hysterical female, I strongly recommend watching this film. Claude Miller has also included in this film an homage to the Nouvelle Vague, by giving supporting roles to Sami Frey, Guy Marchand, Geneviève Page and Stéphane Audran.


Mortelle Randonnée is an off-the-charts brilliant film and all Jacques Audiard, who has written the script, fans would recognize his style. All those who love French cinema, noir, and especially Isabelle Adjani fans, should immediately watch this masterpiece.


9/10

P.S. Many thanks to Sol Young for correcting my RuEnglish.