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Posts Tagged ‘Vincent Lindon’

The Phoenix in Oxford is officially in the middle of a Hitchcock season at the moment (Psycho this coming Sunday, Vertigo the week after that), but if one didn’t know better one might suspect that the cinema’s film booker was quietly running another, unofficial season at the same time: this week the place is showing not two but three films with a religious theme to them. (I enjoy a revival as much as anyone else, but not usually in this sense of the word.)

Yes, this week, currently showing at a cinema near – well, likely not you, but certainly me – is First Reformed (previously discussed hereabouts), Apostasy (a British drama about life in a family of Jehovah’s Witnesses), and finally Xavier Giannoli’s The Apparition (titre Francais: L’Apparition), which will be our main focus on this occasion.

Vincent Lindon plays Jacques Mayano, who as the film opens is a deeply traumatised figure: we first find him hunched in a hotel bedroom, somewhere in the Middle East, clutching a battered and bloody camera. The situation soon becomes clear: Mayano is a war reporter, and his photographer colleague has recently been killed in action. Mayano is consumed by grief and guilt, and upon his return home to France shows every sign of being in the throes of some kind of psychological breakdown.

Then a message comes, from the Vatican no less. He is invited for a confidential meeting with one of the cardinals there. The Catholic Church has a job for Mayano, if he is prepared to take it on: a young girl in rural France claims to have been visited by an apparition of the Virgin Mary, and has attracted a dedicated following of pilgrims and other believers as a result. The girl is named Anna (she is played by Galatea Belugi) and she is a novice in the local convent. Her local priest (Patrick D’Assumcao) is a rebellious type and not being especially cooperative with the Holy Office, who generally like to keep a lid on this sort of thing, at least until it can be authenticated (Mayano is told that the Church would prefer to let a genuine case of a supernatural manifestation languish in obscurity than give publicity to something that might be fraudulent).

And authentication, or not, is what is on the cards for this particular phenomenon. How does this involve Mayano? Well, the Church would like him to participate in the process, essentially being lead investigator for the assessment panel (which also includes a psychiatrist, a priest from the local diocese, a theologian, and so on). More out of curiosity than anything else (or so it is implied), Mayano takes the job – but as he gets to know Anna and the other principals in the case, he finds himself being more deeply affected than he had anticipated – especially when it seems there may be a connection between Anna’s supposed visions and his own recent trauma…

I saw Xavier Giannoli’s previous film, Marguerite, a couple of years ago, and was rather blown away by it: a very subtle and impressive piece of work, especially in the understated shifts in tone which see a film that begins as a smart comedy end as a genuinely moving and rather tragic drama. His name rang a vague bell when I saw it on the poster for The Apparition, but I didn’t put two and two together until after seeing the film – I have to say this is probably just as well, as it would only have raised my expectations for the new movie.

As it is, The Apparition gets off to a notably assured and compelling start, detailing Mayano’s personal situation and then his summons to Rome. This all plays rather like a more naturalistic and credible version of something that Dan Brown might write, with the understated way that various church officials discuss extraordinary phenomena only adding to the impression that the film makes. You are left genuinely wrong-footed and unsure of just which way the film is going to go as it proceeds – is this going to be a slightly arty drama about Mayano’s own personal issues? Some kind of paranormal mystery, with a touch of the theological about it? Or a more conventional thriller, exploring some of the murky backstory of Anna’s visions of the Virgin?

Well, if I say that even at the end of the film, I wasn’t entirely sure which way the film had gone, you may get some idea of the problems with which The Apparition is saddled: it has a great opening, to be sure, but by about halfway through it has lost most of its momentum and cuts back and forth between a number of plotlines, with no great sense of this being a film which is in a hurry to go anywhere in a hurry. Indeed, ‘hurry’ is definitely not the word, for The Apparition is knocking on the door of being two and a half hours’ long, and this is frankly just too much. The story wanders off on odd tangents and explores obscure subplots, but there’s not much sense of anyone being in command of the narrative. When I say that by the end of the film I still wasn’t entirely clear if anyone had genuinely seen the Virgin Mary or not, and what this might mean, you may get some idea of how impenetrable the film becomes – not because it’s difficult to follow what’s going on from scene to scene, but because it’s clearly all supposed to mean something but it’s very difficult to tell what. You’re in no doubt as to Mayano’s mental state as the film concludes, but you have no real sense of it yourself, nor any real understanding of why he’s feeling this way.

Now, it would be remiss of me to suggest that there’s nothing of interest going on here at all: Giannoli takes a balanced view of the Church, comparing the genuine faith and decency of some adherents and members of the hierarchy with the willingness of others to exploit Anna for her visions, and puts this across with a light touch. The film also benefits enormously from two tremendous performances from the two leads – Lindon does just enough to suggest that beneath the surface of his world-weary journalist is a man who may actually want to believe in something greater, while Galatea Belugi is astonishingly self-assured in a very demanding role as the young devotee: I suspect she may very well be going places.

However, if so it will almost certainly be in vehicles which are better assembled than The Apparition. There is enough good stuff here for me to put it in the pile marked ‘Creditable Misfire’, and one certainly gets the impression that Giannoli managed to get reasonably close to the subtle and thoughtful film he was clearly aiming for. Nevertheless, it still looks to me like he fell some way short of his target, with the result that this is an ultimately disappointing movie on many levels.

 

 

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