An homage to Eric Rohmer?

Margot at the Wedding is a 2007 tragicomedy written and directed by Noha Baumach. It is the follow-up to his critically acclaimed, Academy-Award nominated film The Squid and the Whale.
Where the family is also very disfunctional. Although fans of The Squid And The Whale may be disappointed as Noha Baumbach couldn't top or equal the earlier film, which was very promising, taking us to a new wave of films about intellectuals, in the league of Woody Allen work.

Noah Baumbach has mentioned that Margot at the Wedding is influenced by the style of French writer-director Eric Rohmer, who is known for his character-driven, relationship-based dramas like Ma Nuit Chez Maud, Le Genou de Claire, Pauline a la Plage and Le Rayon Vert . Many of Eric Rohmer's films also deal with tensed family relationships and awkward love relationships, and often involve summer vacations. The original title was Nicole at the Beach, but had to be changed when Nicole Kidman signed on.

We are very far from Eric Rohmer work, despite similar elements as family life, sisters, husbands, children, history, secrets, jealousies.
Margot at the Wedding doesn’t make place for subtlety, but more for casuistry.

Margot (Nicole Kidman) and her teen son, Claude, travel from Manhattan to her family's Long Island home, occupied by sister Pauline (Jennifer Jason Leigh), Pauline's daughter, and Malcolm(Jack Black), the scrounger, Pauline will marry.
Sourness marks family discussion, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets while Margot is repressed, bitter, insecure, taking out her frustrations on anyone and everyone around her, especially on her son Claude. She dislikes Malcolm and constantly drains him down. Margot also has marital problems and a lover nearby. Cruelty is everywhere, inside and outside their families. It seems there is no refuge for anyone.
A film about extreme insecurity that generates insecurity. But also, tumbles into a grotesque comedy, with a lot of useless scenes as Margot can't stop herself from trying to show off by climbing a tree in whose branches she gets stuck .
Conversations would have been more appropriate than the non-stop catty comments which leaves you squirming with embarrassment, we could define Margot at the Wedding as a comedy of bad manners.

To the contrary, Eric Rohmer's films consistently question the nature of the cinematic. It is shocking sometimes to see these long conversations and not be bored by their simple, often static representation. How can so much talk be cinematic? But these conversations are more than just talk. This isn't radio, or screaming. Neither is it an interview or televised debate. This is talk visually represented. Word and image work together to create a third thing, cinema.
The hallmarks of Eric Rohmer work is the contemporary setting, the philosophical discussions, the intimate nature of the crisis of well off, self-absorbed characters.

Margot at the Wedding never fully coheres or convinces as the Eric Rohmer’s genre.

What save the film are, the cinematographer Harris Savides using old lenses and shooting mostly in natural light to get the film a wintry colors look, and the first-term performer : Zane Pais (Claude), who is the real star of the film, he manages to be mocking, teary and other-worldly at the same time.

A film that could be seen on DVD for whose who love dysfunctional family drama.

Published in www.artnouveaumagazine.com

Marion...Marion...et encore Marion!

Marion Cotillard's win was a major shock to the US. Very few Americans had seen the movie, and hadn't even heard of her until that night. Facing accusation of "conspiracy" against the U.S, with 9/11 and moon landing theories.
I've been asked to write about her and her fantastic success,
in La Vie En Rose for an American magazine.
Despite all the fuss, and without concealing my pride, here it is!

Marion Cotillard born in 1975, began acting during her childhood, appearing on stage in one of her father's plays. Her career as a film actress began in the mid-1990s, with the production of Luc Besson, in Taxi (1998) which was a huge success in France.
She followed on with more than 20 various French film as Furia, Lisa, Taxi 2, Taxi 3… proving her ability to play a complex yet appealing modern romantic lead.
Although more widely known in France, Marion Cotillard was building an international presence.
In 2003, she had a small role in Tim Burton's film, Big Fish, which introduced her to English-speaking audiences. It was also her first both critically and financially successful film. She appeared in two critically acclaimed films in 2004:A Very Long Engagement, where she further demonstrated the range of her abilities by playing the murderous Tina Lombardi (garnering the César Award for Best Actress in a Supporting Role), in the drama mystery Innocence. In 2006, she appeared in Ridley Scott's A Good Year.
She was chosen by director Olivier Dahan to portray the iconic French singer Edith Piaff in the biopic La Vie En Rose, before he had even met her, saying that in the eyes of Édith Piaf he noticed a similarity with Marion's own. Her portrayal was widely praised, including by the eminent English theatre director Sir Trevor Nunn, who described it as "one of the greatest performances on film ever." It was dubbed "the most awaited film of 2007" in France, where critics said that she had reincarnated Édith Piaf to sing one last time on stage.
According to Marlene Dietrich, chanteuse Edith Piaf’s voice was "the soul of Paris." This French drama explores the often troubled life of the singer as her fame took her from the City of Lights to America to the South of France. Abandoned by her mother, Piaf grew up in her grandmother’s brothel,and her father’s circus.
According to Marlene Dietrich, chanteuse Edith Piaf’s voice was "the soul of Paris." This French drama explores the troubled life of the singer as her fame took her from the City of Lights to America to the South of France. Abandoned by her mother, Piaf grew up in her grandmother’s brothel and her father’s circus. While singing on the streets of Paris as a teenager, Piaf is discovered by club owner Louis Leplée (Gérard Depardieu), and this chance encounter changes the woman’s life. Her powerful voice takes her all over the globe, but it can’t save her from the pain and suffering she can’t avoid.
As Edith Piaf, Marion Cotillard is mesmerizing. She fully inhabits the singer’s ivory skin. Like Walk The Line and Ray, this biopic creates a fascinating picture of an artist whose songs only begin to reflect the singer’s painful life.
But director-writer Olivier Dahan doesn’t take the traditional biopic way with La Vie En Rose. With such an eye for detail and created a wonderful, caring homage to Edith Piaf. The chemistry between Olivier Dahan and the hearted performance by Marion Cotillard is what made the story fascinating and visually stunning. Piaf's "memories" are just what the film examines as she starts to analize and remember fragmented moments in her life, and characters, relationships, lost loved ones are suddenly shifted and gone from one's perspective without being noticeable. Marion Cotillard is just as brilliant at playing the teenage Piaf as she is on her deathbed at the age of 47.
The amount of music, was done superbly as to not just make this a musical biography but an exciting picture of an era.
By the time the credits were rolling both of my shirtsleeves were damp with tears of sadness and tears of admiration in discovering much more about such a remarkable, true modern day, diva.
I highly recommend this film, and it’s Marion Cotillard amazing performance that makes La Vie En Rose so worth seeing.

-Laure Brosson-

Life Through a Lens

« Annie Leibovitz…Annie Leibovitz…Annie Leibovitz… »
The documentary has started. Admiring contributions from friends, relatives and subjects ranging from Hillary Clinton to Mick Jagger seems to have one big obsession : Annie Liebovitz !
Annie Leibovitz: Life Through a Lens (2006) is a celebratory documentary of the 58-year-old photographer, directed by her sister.
It shows her progress from a military family obsessed with recording itself.
Through her start at the Rolling Stone magazine,she quickly came to attention with a unique style by her close collaboration with the subject. She followed bands on tour like the Rolling Stones, giving us lot’s of very memorable iconic images.
Then, she found herself trapped into the drug-fuelled years of the rockn’roll era.
In 1983, Annie Leibovitz joined Vanity Fair and was made the magazine's first contributing photographer,with the celebrity culture served by the magazine, her portraits became more provocative which could be describes sometimes as 'pretty shallow'.
The obvious look of the Blues Brothers faces painted in blue seems to have paid off, from simplicity to very detailed choreography when she gets George Clooney to take off his jacket in front of a ring of half-naked models shivering in the sea.
Her current position of a portraitist refers to the work of Joshua Reynolds, who was the most important and influential of 18th century English painter, specialising in portraits, with paintings like « Colonel Acland and Lord Sydney, The Archers » (1769), or « Robert Clive » and his family with an Indian maid, (1765).
Life Through a Lens is also revealing about her long-term relationship with Susan Sontag, an American literary theorist, novelist, filmmaker, and political activist.
Losing her partner and her father in a short space of time has obviously affected her profoundly and some of the film’s most moving scenes are when she talks about her loss and expresses it through her work. With a gentle humility, it shows us that Annie Liebovitz is a woman first.
A noble documentary telling us an extraordinary life achievement.

Published in www.deadfoxfanzine.com

Marion Cotillard.

I have never had any sens of patriotism since i left France ten years ago, and Marion Cotillard had woken up inside me, a proud feeling to be French!
When i saw she won the Oscar for the best leading actress,
for "La Mome".
I felt tears of real joy coming into my eyes, i even called my best friend Natalie to tell her, and sent a text to my parents.
Welcome to the magic stardom, very much deserved!

Un grand bravo to Marion!

The New Gondry's!

Be Kind Rewind is a 2008 American comedy film directed, written by Michel Gondry and starring Jack Black,Mos Def, the American rapper, Danny Glover, Mia Farrow. The title is a reference to a phrase commonly displayed on VHS rental tapes during the medium's era. Jack Black and Mos Def play two guys who run a tiny video rental store and, when all their vhs tapes accidentally get ruined after being exposed to magnetism, the boys attempt to recreate some of our favorite classic films (Ghostbusters,Rush hour 2, Robocop, Back to the Future, etc ...) in order to keep the store's one loyal customer happy.

Much like The Science of Sleep (2006), Be Kind Rewind takes place in a universe full of childlike charm and hand-made wonders, like cardboard television, or surrealistic cars evocative of the imagery of the successful Mighty Boosh, a British comedy television series and live show about two friends who go on a series of magical adventures playing now on BBC3.

Be Kind Rewind is all about nostalgia. In an interview, Jack Black is sharing his taste for the “good old things”, “ The vinyl records sound better than CDs whereas video tape cassettes don’t look that different from DVDs, certainly not better than Blu-Ray. I’m an HD snob now. I can’t watch anything unless it’s HD”.

The movie looks typically like the 80’s era, from the outfits of the characters to the soundtracks of all the movies they are re-shooting as Ghostbusters, with a comedy timing, referring of those old Laurel & Hardy shorts.

It’s about the togetherness of a shared experience. Whether you are talking about a movie theatre or some other function, it is the idea of a group of people experiencing joy and happiness.

Despite the fact that Be Kind Rewind is a bit more commercial than Gondry’s previous films, Be Kind To Rewind confirms that Gondry's own films are more like dreams than movies; full of imaginative visions, fun while they're happening, easily punctured by reality, and as pleasant as they are impermanent.

Published in www.deadfoxfanzine.com

Le Scaphandre et le Papillon

The Diving Bell and the Butterfly

Jean-Dominique Bauby (April 23, 1952 – March 9, 1997) was a well-known French journalist and author and editor of the magazine ELLE.
On December 8, 1995 at the age of 42, Bauby suffered a cerebro-vascular attack while driving in the countryside in his smart new convertible.

When he woke up twenty days later, completely bed-ridden, breathing through a respirator (diving bell), feeding through a feeding tube, he found he was almost entirely speechless; he could only move his mouth a little, and blink his left eyelid.
Despite his condition, he authored the book The Diving Bell And The Butterfly by blinking when the correct letter was reached by a person slowly reciting the alphabet over and over again. Bauby had to compose and edit the book entirely in his head, and convey it painfully one letter at a time.
In 2007, American painter-director Julian Schnabel released a film version of The Diving Bell and the Butterfly. It starred actor Mathieu Amalric as Bauby and won Schnabel the best director prize at Cannes, a Golden Globe Award and an Academy Award nomination for Best Director.

In addition to his work as an artist, Schnabel has written and directed three films: Basquiat, a biopic on the painter Jean-Michel Basquiat(1996), and Before Night Falls(2000) an adaptation of Reinaldo Arena’s
autobiographical novel. The film takes an episodic look at the life of the
Cuban poet and novelist (1943-1990), from his childhood in Oriente province to his death in New York City.
As a painter, Schnabel chooses topics related to his art, and we can clearly see that his form of filming is far more original than that of most of the movies released now: three feature films, which constitute a biopic trilogy about modern artists transcending limitations.

Much of the movie is shot from Bauby's point of view, so Amalric is often offscreen, although we hear his voice, in narration. The shots from Bauby's stationary hospital-bed perspective are simultaneously distressing and inspiring, as cinematographer Janusz Kaminski(who did Shindler’s List) manipulates light and focus to create compelling images that would be abstract if not for the cropped presence of a nurse or piece of furniture.

The shots finds beauty in the commonplace, evocative of the work of Willem de


Kooning or Mark Rothko, artists, painting in a style that came to be referred to Abstract expressionism, in the post World War II era. Artfully obscured, blurred at the edges and dappled with beautiful tones, reminiscent of the painting ‘Green, Red, Blue’ from the New York School artist Mark Rothko.

The beauty of the film doesn’t consist only in the photography: the character of Jean-Do contributes to it with subtlety and extreme courage.
The film begins with Jean-Do,( that’s how he used to be called by his entourage before his stroke) coming out of his coma and being told by a neurologist that he’s suffering from “Locked-in syndrome”. The English term is used by the French doctor; the spectator shares immediately in his isolation.
Initially he must come to terms with his condition and get over his death wish. His introspective makes him realise human existence is not only endurable but worthy of beautiful things and memories, as in a very moving sequence when he shaved his dad, or remembering the beautiful women of his life, like the mother of his children(Emmanuelle Seigner): such things can keep us alive. Fortunately Jean-Do has a love for culture, literature, cinema, he even calls the hospital balcony where he sits for hours thinking of movies “Cine-citta”. With his witty humour,his comments on his condition, and his perseverance are an extraordinary achievement, without self pity.
The soundtrack is sublime: tears of admiration for Jean-Do were running down my cheeks when Tom Waits sang "All the world is green".
The choice of songs is exquisite, from "La mer" by Charles Trenet to The Velvet Underground playing "Pale Blue Eyes".

The spectator doesn’t or shouldn’t feel sad, the story itself, which is without a doubt moving, tells us life is full of celebration.
A magnificent battle for life that definitely deserved to be seen.


-Laure Brosson-

Published in www.deadfoxfanzine.com

My second publication!

There Will Be Blood is a 2007 film directed, written and produced by Paul Thomas Anderson, based on late 1800's oil prospectors. The film, inspired by Upton Sinclair's novel Oil! (1927) stars Daniel Day-Lewis and Paul Dano. A story about family, greed, religion, and oil centres around a turn-of-the-century prospector in the early days of the business.
The film has excited the critic, of the New York Times: "The film is above
all a consummate work of art.",Boldly and magnificently strange," according
to Variety, compared to Citizen Kane by many critics, nominated for 8 Oscars. The film has had another 33 wins and 31 nominations.
Despite, all the fuss, I can’t get my head around this “masterpiece” my mind is divided. I don’t think I could say I didn’t appreciate it. I cannot deny the talent of Daniel Day-Lewis who has delivered a magnificent performance that will be a challenge to other actors. He carries the film brilliantly with his interpretation of a monster. His eyes, small and evil, made me uneasy during and even after the movie.
His last line will become part of movie lore, like Robert Duval's 'Charlie don't surf', in Apocalypse Now (1979) by Francis Ford Coppola.
Also, the music by Jonny Greenwood best known as a member of Radiohead adds to the sense of fear.
Visually disturbing, the opening scene presents the landscape of two mountains underscored by violent and powerful music evocative of the soundtrack of The Shining (1980) by Stanley Kubrick.
With a powerful leading actor and strong supporting cast the film has all the ingredients to be an extraordinary feature.
Although, with such a lot going for it, why isn't this film a masterpiece?
As we say in French,the”je ne sais quoi” was missing: maybe the film was too long, maybe my expectations were too high, boosted by all the critics, and my high estimation of Paul Thomas Anderson’s work.
Boogie Nights (1998), and Magnolia (2000) were a turn-on for me, especially Magnolia, an epic mosaic of several interrelated characters in search of happiness and, forgiveness, and mainly about parent-child relationships, father-son estrangement, and the loss of a son…
One of the key plot lines in There Will Be Blood is the father-son relationship: Dniel Fairview (Daniel Day-Lewis) abandons his young son after an explosion in which the child is deafened and blinded, becoming useless in the eyes of his father the oil tycoon.
In spite of that similarity, There Will Be Blood marks a significant departure in the work of Paul Thomas Anderson.
As in Paul Thomas Anderson’s previous work, every shot in There Will be Blood seems exactly right, but its narrative form is more classical and less “auteurist”, which shows a lack of independence, and the creativity seems to be smothered by the big machine of Hollywood. Even the adaptation from the book has been unfaithful to please Paramount.
Perhaps there was too much compromise in an attempt to satisfy the studios.

-Laure Brosson-


Published in www.deadfoxfanzine.com

The other day...

...in the conversation, my friend Alexa told me she reviews books for a magazine, i shared with her my desire to do the same with movies, and it's how everything begins!

Here is my first publication!

deadfoxfanzine.com

Archive for the ‘Dead Fox Film’ Category

Dead Fox Film

January 4th

The Western isn´t dead.

The Western isn´t dead.

Western has always been in the air, in terms of fashion, music and photography. Western has always had an iconic look to it.

In terms of the Western film genre, however, it seemed to have reached a dead end… But like Robert Redford and Paul Newman´s trapped outlaws at the end of Butch Cassidy And The Sundance Kid, it finally looks like the Western film has made a return.

Despite the success of Clint Eastwood´s Unforgiven and Kevin Costner´s Dances With The Wolves, the genre that explained and defined America so well for much of 20th century, had a long period of recession, but finally it looks like Western is back and is literally galloping over the horizon!

One of the first films to regenerate the genre was the re-make of the 1957 film 3:10 To Yuma in 2007, this second adaptation of Eleonore Leonard´s short story was directed by James Mangold, who made the Johnny Cash biopic Walk The Line.

The story centres around a farmer (Christian Bale) who is in a desperate struggle to save his land. He is forced to escort a famous outlaw, Ben Wade (Russell Crowe), to catch the 3:10 to Yuma, for the reward of $200.

When I saw the poster I was mesmerised by how stylish these two men looked: it took my breath away. I needed to see it as soon as possible, and I thought, Western is back!

It is a real ”boys” film, visually beautiful, with a lot of dust, in the tradition of the genre, I left the cinema with the sounds of the guns still in my ears.

Continuing the Western “Nouvelle Vague”, The Assassination Of Jess James by the coward Robert Ford was released just a few weeks after the re-make of 3:10 To Yuma. The film is a drama adapted from Ron Hansen´s 1983 novel, directed by Andrew Dominik.

Everyone in 1880s America knows Jesse James (Brad Pitt): the nation’s most notorious criminal, hunted by the law in 10 states. But he’s also a popular hero, and perceived as a Robin Hood figure by the public. Robert Ford (Casey Affleck) is anonymous, no one notices his existence - well, not yet. The ambitious 19-year-old aims to change all that, by joining Jesse and riding with his gang.

This film is made brilliant by its stunning visuals, award-worthy performances, and a story that reflects a classic and stylish Western mood.

My focus really comes into the genre of western film with the much anticipated, No Country For Old Men, the Coen brothers’ adaptation of Cormac McCarthy´s violent and modern wild west tale.

Acclaimed everywhere, it has been nominated for eight Oscars . Violence and troubles come after a hunter stumbles upon some dead bodies, a stash of heroin and more than $2 million in cash near Rio Grande. The film stars Tommy Lee Jones as Sheriff Ed Tom Bell, a laconic soon-to-retire small town sheriff, Joshin Brolin as Llewin Moss, a welder and Vietnam veteran who flees $2 million in drug money; and Javier Bardem as Anton Chirgurh, an assassin hired to recover the money.

The film is a true visual experience, a “cinema-photo“, reflecting the style of Jim Jarmuch and leaving you with lots to meditate on. The camera work absorbs the scenery of the endless west Texas desert and captures its beautiful and haunting imagery.

The camera also seems to absorb the characters’ faces and fills your mind with their every detail - the placid, cold face of Javier Badem, and the old, beautiful, lined features of Tommy Lee Jones. Both characters are contrasted well in the film and this balance of good and evil lets you reflect on elements of human nature and injustice in the world.

The focus of the movie is more on the visual, as opposed to the plot. The Coen’s’ technical abilities, and their feel for a landscape-based western is beautifully classic.

I´m delighted with the come back of the Western, and very much look forward to the promising There Will Be Blood.

-Laure Brosson-

Introduction

Here i am now, talking about what i love the most, le Cinema!

I always wanted to be a film critic, probably for more than 10 years...you see the frustration.

I said to my friend Gareth yesterday that I would quiet my job, to become a film critic, he laughed at me, obviously, it sounded a bit pompous, i have to admit.

But, if you don't try anything, nothing will happen to you...so, this morning, i asked my student who's a film maker, how to become a film critic?

He told me that I should write something about a movie and give it to some magazines.

I asked him about the studies that any journalist would have to go for in France, he told me that wasn't really necessary... Good for me, i thought!

And his fantastic wife came up with the idea to create a blog.

Ah! lalala! L'epatante (this is what we call her). I don't know what we would do without her!

Yesterday I called Empire Magazine and asked if they would had a vacancy...Hmn, what was I thinking, there is NO job available in the biggest of the biggest. There must be a reason why it's called Empire.

Alors un grand merci a L'epatante et au Fayot!