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Posts Tagged ‘Jacques Audiard’

From a British perspective you can’t fault John C Reilly’s approach to the year so far: having befouled cinemas with Holmes and Watson right at the beginning of January, he has apparently been doing his very best to make amends, giving an excellent performance in the very good Stan & Ollie, and now doing much the same in The Sisters Brothers, which he also produced. On the other hand, this is sort of a trick of the light, given that The Sisters Brothers was actually released in the States well over six months ago and is only now reaching screens in the UK (and not many of them at that).

In our world of day and date releasing, with films usually coming out more or less simultaneously across the anglophone world, what can we infer from this delay? Well, it’s usually a sign that a studio doesn’t have much faith in a movie and isn’t in a hurry to capitalise on the buzz it has generated, often because there isn’t any. Certainly The Sisters Brothers has been released into the world at a fairly quiet time (at least, as quiet as it gets with everyone gearing up for the first really big releases of the year in only a few weeks), without much in the way of publicity, and much of that rather odd (we shall return to this). How come? Well, here we come to the nub of the issue. Money has nothing to do with artistic achievement – well, less than you might think – but in a spirit of full disclosure I feel obliged to mention that The Sisters Brothers was a bomb on its American release, making back only about a quarter of its budget.

The film is the work of the acclaimed French director Jacques Audiard, who won the top prize at Cannes with Dheepan in 2015 and before that made the very impressive Rust and Bone. The Sisters Brothers finds him working in that most American of genres and idioms, the western, with Reilly and Joaquin Phoenix playing the title characters, who are a pair of ne’er-do-wells – basically hired killers – in the service of a wealthy but unprincipled man known as the Commodore (Rutger Hauer, in what proves to be a startling instance of stunt casting). Reilly plays Eli, the elder and more thoughtful of the pair, who is beginning to have reservations about their lifestyle; Phoenix plays Charlie, who is more of a loose cannon and thinks everything is fine just as it is.

As the film opens, the brothers are dispatched in support of a private detective, Morris (Jake Gyllenhaal), who is also working for the Commodore. Morris is on the trail of mild-mannered chemist Hermann Warm (Riz Ahmed), who has developed a new process vastly facilitating the acquisition of gold – as this is 1851, with the California gold rush still a going concern, there is potentially very big money to be made here. Morris is to find Warm and restrain him, at which point the brothers will forcibly extract the secret of the process from him and then dispose of his remains. It’s very simple, if not exactly virtuous – but then Morris finds himself warming to Warm and his idealistic notions as to what to spend the gold on, and the two men strike up a tentative partnership of their own. Meanwhile, the pursuing Sisters have issues of their own, with Eli increasingly coming to the conclusion that this is not how he wants to spend the rest of his days…

I was fairly indifferent about the prospect of seeing The Sisters Brothers when it first started popping up in the ‘coming soon’ sections of my preferred media outlets – I’ve nothing against a good western, but this is a genre which feels like it’s been on life-support for decades. Whenever they do make a western now, it’s usually an opportunity for an art-house director to do something radical and revisionist to it, or it’s a clumsy attempt by a big studio to revive the genre which normally ends up bland and annoying. This is certainly from the former camp, and my tolerance for this sort of thing really depends on exactly what the director’s take on the form is: extra grit, misery and gore is neither inspired not particularly impressive. The trailer that eventually turned up for The Sisters Brothers promised something rather different: it was fast, funny, and was soundtracked by (I am assuming) Gloria Jones singing ‘Tainted Love’, which is not the kind of tune you would associate with the American west. The idea of a western with a northern soul soundtrack struck me as an interesting and witty one, and did the job of making me interested in seeing the film.

Well, I have to report that this is practically a case of false advertising, for while this film’s soundtrack is certainly quirky, it is almost wholly orchestral. Should I feel cheated? Well, maybe: but the rest of the film is certainly interesting and generally speaking a worthwhile watch. To begin with it looks very much like a classic western tale, dealing with issues of morality and self-realisation on the open range, but kept lively and very watchable by great performances from the four leads – but especially Reilly, who brings real depth and warmth to someone who could easily have had neither. Audiard isn’t one of those people who tries to ‘fix’ the western by turning it into something else – there is all the magnificent scenery one could hope for (I should point out that this film was made in the land of the Spaghetti western, i.e. Spain), and frequent shoot-outs along the way – for all of their tendency to bicker with each other, the Sisters brothers are alarmingly proficient killers. The story builds up to the encounter between the brothers and Warm and Morris very satisfyingly.

And then something very odd happens, which may be at the root of the troubles that The Sisters Brothers has had at the box office. The film takes an odd turn, with what feels undeniably like a allegory about greed and its effects on the environment briefly appearing, and then… Well, we’re into the final act of the film by this point, so I can’t really go into detail, but the film-makers essentially rip up the rule-book as to how a story should develop and do something radically different instead. It’s the kind of thing that could happen in real life, but never happens in movies, the sort of plot twist that film critics tend to love (85% on a well-known solanaceous review aggregation website) but general audiences respond very poorly to (only $3.1 million at the US box office). I can kind of admire Audiard’s audacity in playing with expectations and dispensing with traditional ideas of closure, but I have to say that something with a bit more rootin’ tootin’ would have felt more emotionally satisfying.

Still, one gets a definite sense that Audiard has made exactly the film he wanted to make, and it is still a pretty good one: the setting is well realised, the performances strong, and there are moments both amusing and emotional in the course of the film. But at the same time I can see exactly why it has struggled commercially: the strange shifts in tone and the lack of a conventional ending feel like an attempt to deliberately wrong-foot audiences, and this happens to late to really win them back again before the film is over. It’s hard to criticise the film for this, but I think this is certainly the source of its problems. Worth seeing, but I couldn’t give this an unqualified recommendation.

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From a movie about cricket, to a movie about… you know, one good thing about operating a no-spoiler policy when reviewing films is that occasionally it prevents you from using some of the most obviously tasteless gags that might otherwise occur to you (if you are afflicted with a mind like mine, anyway). Going beyond the pale in terms of the funnies is more of a danger with some films than others, and I must say that the potential for sick jokes when discussing Jacques Audiard’s Rust and Bone (original title De rouille et d’os) is probably greater than most. Restraint is demanded of me anyway, as this is a superior movie in every department.

As the film opens we meet Ali (Matthias Schoenaerts), a young man making his way to the south of France with his young son – we don’t see the situation they have left, but everything suggests it was not a pretty or healthy one. Ali is living on the fringes, and takes refuge with his sister and her partner. Eventually he gets a job as a bouncer at a swish local nightclub, where he is called upon to help a glamorous young woman in distress. She is Stephanie (Marion Cotillard), independent-minded, perhaps with troubles of her own. Ali leaves his number with her, but nothing else comes of it.

And then… Well, here we enter somewhat murky waters, as Stephanie undergoes a Significant Personal Event at her workplace (she trains killer whales). This Significant Personal Event is so fundamental to the course of the story that it hardly qualifies as a plot spoiler, but the makers of the film still clearly want it to come as a surprise to the viewer: the trailer for this movie is carefully assembled (one might say to the point of disingenuity) in order to avoid giving it away. Put it this way, she doesn’t just have her annual leave request turned down.

Anyway, following the Significant Personal Event, Stephanie finds herself in need of a friend and for some reason turns to Ali, even though they have only met once. What follows is the slow and awkward coming together of two completely different people, Stephanie vulnerable and struggling to come to terms with the realities of life, Ali outwardly carefree, with all the apparent sensitivity and emotional intelligence of a concrete breeze block. And yet it is completely convincing and very affecting.

On one level Rust and Bone is a slightly unusual film, in that it is as utterly dependent on its special effects as any summer blockbuster, but the intention here is for the audience to leave the film with, ideally, no idea that any cinematic wizardry has occurred. These are what used to be called subtle effects, intended to be invisible rather than eyecatching. Well, the virtuosity on display is incredible, as the work involved permeates most of the movie, and I consistently found myself wondering ‘how on Earth did they do that so convincingly?’ – an uninformed viewer might be completely taken in by the display. On the other hand, I wonder if this wasn’t distracting me just a bit from the story itself – I should have been drawn into the scene more than simply marvelling at the quality of the CGI.

On another level, this film had the potential to be a melodramatic weepy of the first rank – the story is bookended by tragedy and potential tragedy, punctuated by anguish and misery, and the actual through-line of the plot is not tremendously original. In some places it’s also a bit implausible – at one point, quite late on, Stephanie becomes Ali’s manager in his sideline as a bare-knuckle boxer, and her willingness to do this comes out of the blue somewhat. Also, the climax is set up by a plot development which smacks just a bit too much of coincidence (once again, decency precludes me going into too much detail).

However, the film succeeds, partly because it is resolutely unsentimental about all of the characters and their situations – Ali’s poverty is not treated as something picturesque or in some way character-forming, we see him scavenging for food in rubbish to feed his son and committing petty theft. Stephanie’s own situation is graphically presented too, and the early stages of the central relationship are not the stuff of chocolate-box romance. This is a film trying hard to ground itself in a recognisable world with characters who seem to be real people.

This is of course due to the quality of the central performances, which is the other main reason for the film being as good as it is. It almost goes without saying that much of mainstream English-speaking cinema is at best undemanding and at worst actively stupid. Marion Cotillard has been lucky enough to make most of her major English appearances in films by significant directors who are intelligent men, but even so, for Michael Mann she wound up playing a gangster’s moll, and for Christopher Nolan a fragment of someone’s memory and the long-lost daughter of a supervillain: not, perhaps, the most heavyweight of parts. Rust and Bone is a movie which really allows Cotillard the opportunity to let her talent shine and she is remarkable, somehow managing to radiate emotion without any obviously laboured technique or visible ‘acting’ worth mentioning. Matthias Schoenaerts is just as good – in fact he may possibly be even better, in that he’s playing someone who doesn’t let his emotions show and most of the time seems to be trying to mask them from himself as much as other people.

Cotillard and Schoenaerts are so good that the story is completely compelling throughout, even though much of the telling of it is rather understated. The trailer for this film is soundtracked by soaring music and is full of remarkably colourful, vibrant images, promising a lush and passionate experience. Well, there’s a degree of cherry-picking going on here, I would say: there are remarkably photographed and edited sequences dotted through this film, but most of it is much more restrained and naturalistic (the soundtrack is probably most notable for its eclecticism, featuring contributions from both Katy Perry and John Cooper Clarke, for example).

And while this works to the film’s advantage for most of its length, I think the director misses a trick in the closing stages – there isn’t the transcendent, overwhelmingly romantic climax that I suspect could quite easily have had more emotionally fragile audience-members sniffling into their snack wrappers. Normally I would have applauded the evasion of such open sentimentality – but the important thing is that this film does not deal in sentimentality, but in genuine sentiment – real emotion – and thus had surely earned the right to its big finish. I would not have begrudged it one.

The conclusion the film has instead is satisfying and appropriate, and in keeping with the rest of it, so it by no means damages the film. It’s just that this is one of the very few flaws in what is one of the best dramas of the year, with possibly the two best performances I’ve seen, subtitled or not. Not always the easiest of films to watch, and a serious work throughout, but enormously well-made and rewarding.

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