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Grace of Monaco
Biographical films aren’t what they used to be, and thank goodness for that. Many of those inspirational, by-the-numbers celluloid (er, digital) resumes are thud-worthy. At Cannes there are a few biographies, and while not all are works of genius, many take a different approach to the genre.
The festival opened with Olivier Dahan’s “Grace of Monaco,” starring Nicole Kidman as Princess Grace, nee Kelly. Alright, this is not the best example of a new style of biography. In fact in this version of her life, Princess Grace single-handedly saves a world on the brink of war, when she gets all the right people to attend a Red Cross benefit. On top of that, she discovers family traitors in the ranks in a story of palace intrigue. Who knew?
“Mr. Turner” by Mike Leigh, stars Timothy Spall as the eccentric British painter J.M.W. Turner. In addition to the apparently huge amount of research done by Leigh and Spall, the film itself has the look and feel of a Turner painting. Spall is magnificent as the solitary painter who had a genius way of painting but has the look and feel of a feral animal when it comes to most human contact. As with another great work by Leigh that deals with historical - and artistic - characters, “Topsy Turvy” (about Gilbert and Sullivan), the film doesn’t lay out the characters’ entire life. No flashback to childhood so we might understand why Turner is the way he is. Instead we are treated to a moment in his life; a sketch, perhaps, that give us a hint to the life of the man.
“Saint Laurent,” Bertrand Bonello’s fantastical and exciting portrait of the designer, comes on the heels of a fairly standard bio of Yves Saint Laurent. That one uses a prosthetic nose so that we recognize the main character. Bonello does no such thing. His actors (two portray Saint Laurent at different stages) simply embody the man, and so we know him very well by his words, his movements. Bonello uses lavishness in the characters and the photography to represent an excessive era.
Speaking of prosthetics, Steve Carell does use one to inhabit the character of disturbed (to say the least) millionaire John du Pont in Bennett Miller’s “Foxcatcher.” And while his portrayal is intensely disturbing, this writer spent a great deal of time internally remarking that Steve Carell was hidden under that nose. Mark Ruffalo and Channing Tatum used no such devises to play the Schultz brothers. Miller depends on these intense portraitures to evoke that strange happenings on the du Pont estate.
Jessica Hausner’s “Amour Fou” tells the story of 19th century poet Heinrich von Kleist, who committed suicide along with his lover, Henriette Vogel. The film comes off as a studied, wry comedy. By the way, that’s comedy in the Shakespearian sense; that is, Hausner does not view suicide as tragedy. Instead, she creates a period set piece that veers on the absurd.
With the exception of “Grace of Monaco,” each of these films gives a new look to biographical drama. Taken together they represent not just deeper looks at real life, but instead using true stories and characters to propel cinematic storytelling, a win for viewers, certainly – but also a win for the future of biographical storytelling.
After twelve days in the not-so-warm breezes of Cannes, the awards are finally given out, which always leads to much opinionating on the part of observers. Who is right? The jury, who have been wheeling and dealing (so to speak) behind closed doors? Or the rest of us, who have very strong opinions that don’t stay hidden. The competition jury president was filmmaker Jane Campion and her fellow jurors included actors Carole Bouquet, Leila Hatami, Jeon Do-Yeon, Willem DaFoe, Gael Garcia Bernal and writer/directors Sofia Coppola, Jia Zhangke and Nicolas Winding Refn.
The Camera d’Or is given out for the best first feature film and is selected from debuts in all the sections of the festival. It even has its own jury, made up of French actors, directors, cinematographers, critics and led by actor/director Nicole Garcia. This year the prize went to “Party Girl,” a French film that opened the Un Certain Regard section and was directed by a triad of first timers: Marie Amachoukeli, Claire Burger and Samuel Theis. Refreshingly the main character is a 60-year-old woman – rare for young filmmakers – maybe that’s what intrigued the jury. While another first feature, “The Tribe” swept the Critics’ Week awards (the section that presented the film), I would have chosen “Next to Her,” a wrenching drama of love and loyalty by Israeli director Asaf Korman.
Back to the feature awards. The jury doesn’t always give out the same amount of prizes. For instance, awards have been given for cinematography but not so this year. If the jury doesn’t find something worthy of the award, it won’t be given out – although that only happens with the more technical awards. And you’re not likely to see one film sweep the prizes; there’s a lot of sharing going on, by unofficial decree, it would seem.
And share they did: Eight awards were given out to eight different films. Bennett Miller took the Best Director prize for “Foxcatcher.” Not a bad choice, but I though Mike Leigh’s direction of “Mr. Turner” was perfection. I would have gone in that direction. But “Mr. Turner” wasn’t forgotten: Timothy Spall received Best Actor accolades and I cannot disagree. Spall’s turn as a feral-like creature who churned out beautiful works of art was one of the highlights of the festival.
Julianne Moore was given the Best Actress award for her work in “Maps to the Stars.” She is always a pleasure to watch and her work in David Cronenberg’s film is by turns funny, sad and a bit creepy. But I would have been happy to see Anne Dorval singled out for her role as a mother at the end of her rope in Xavier Dolan’s “Mommy.” Maybe Juliette Binoche – or Kristen Stewart – in the Olivier Assayas drama “Clouds of Sils Maria.” Just a thought.
Assayas himself most certainly was a contender for the Best Screenplay prize with his story of an actress of a certain age (Binoche) who is forced to see herself past present and future by way of two younger women (Stewart and Chole Grace Moretz), but that honor went to Russian writer/director Andrey Zvyagintsev for his incisive yet funny – and politically dangerous – script for “Leviathan.”
Jury prizes and the Grand Prix are usually seen as recognition for runners-up, and it’s not a terrible idea. I, for one, am not captivated by the idea that one film (or anything, for that matter) is the absolute best. However, the idea of a Cannes with no prizes is not exactly sweeping the nation (France or the U.S.) So spread the wealth. Just make sure it doesn’t approach kids’ sport teams, where every member of every team – win or lose – takes home a trophy!
Two jury prizes were given out. One to the oldest filmmaker in the competition: Jean-Luc Godard, for his extravagant 3D think piece “Goodbye to Language” and one to the youngest: Xavier Dolan for “Mommy,” wherein he continues to mine his own (I’m sure) mother issues, to great effect. Godard, naturally, was not on the premises, but Dolan gave a wonderfully heartfelt acceptance. Also grateful was Alice Rohrwacher, who won the Grand Prize for her second feature “The Wonders.” And she had to give her acceptance speech with Sophia Loren looming large onstage beside her!
Finally, Nuri Bilge Ceylan’s three hour plus opus “Winter Sleep” won the Palme d’or, the top prize. In 2011 his film “Once Upon a Time in Anatolia” won the jury grand prize, so he has worked his way to the top of the festival award food chain. I would submit that his previous film should have received the Palme d’or, but this film is worthy also. However, a film that received no love at the awards and is, in my book, the best film of the festival, was “Timbuktu,” Abderrahmane Sissako’s stinging portrait of a community stuck in the grip of Islamic fundamentalists. Beautifully shot (there’s your cinematography prize) and acted (though I fear no one in this ensemble will win an acting prize as they are not well known at all), this film moved me as no film has in a very long time.
Was he “robbed” of a prize? Maybe. But prizes are just gifts – pretty certificates or trophies. What will count down the road is the impact any of these films make on screens around the world. Let’s hope they all make that journey.
As soon as the competition lineup is announced for the Cannes film festival, the handicapping begins: Who will win the top prize (Palme d’or); who are contenders for the acting awards; what first feature film will win the coveted Camera d’or? In addition to the above mentioned honors and acting, writing, directing and technical trophies, the jury can hand out its own prizes, which is a way of honoring films that may have missed out on a larger prize, although more often it seems a way for all jury members to show their favorites some love.
Debate at this point seems premature: There are ten days between Opening and Closing nights and a lot can happen. But a look at some of the repeat visitors on the Croisette is a more interesting concept. Who are making return trips to Cannes?
The most anticipated film for this writer is “Mr. Turner,” Mike Leigh’s film about the life of 19th century English painter J.M.W. Turner. Leigh won the Palme d’or in 1996 for “Secrets and Lies” and is equally at home with his salt of the earth characters as he is with historical (and artistic) figures. Nuri Bilge Ceylan is a great storyteller, so “Winter Sleep” is high on the must-see list. His last Cannes entry, “Once Upon a Time in Anatolia” won the grand prize at the festival in 2011.Actor Tommy Lee Jones is in the competition as a director with “The Homesman,” which he also stars in alongside Hilary Swank. This is Jones’ second theatrical feature as a director; his first film, “The Three Burials of Melquiades Estrada,” also premiered in the Cannes competition in 2005: The film won a screenplay award and Jones walked away with the best actor prize.
Alice Rohrwacher is in the competition with her second feature, “The Wonders.” Her first feature, “Corpo Celeste” premiered in the Directors Fortnight section of Cannes. She is an intriguing filmmaker; let’s see what she does next. David Cronenberg makes another trip to Cannes with his “Map to the Stars.” In 1996 he was awarded a Special Jury Prize for his film “Crash.”
Any film by the Dardennes brothers is worth a look and Marion Cotillard, who has the lead in “Two Days, One Night” may be the highest profile star ever to appear in their films. They have had numerous films in the competition at Cannes, and their films have garnered many awards, including the top prize two times (“Rosetta” in 1999 and “L’Enfant” in 2005). Jean Luc Godard is in Cannes again (no surprise), this time with a 3D film, “Goodbye to Language.” His films are always controversial, but for that reason they are also required viewing.
Xavier Dolan is young and prolific. At 25, he’s in the competition (finally!) with “Mommy,” his fifth feature in five years. He made his Cannes debut with a Directors Fortnight screening of “I Killed My Mother” and moved up to the Un Certain Regard section two years ago with “Laurence Anyways.” Ken Loach shows up again, with a historical piece, “Jimmy’s Hall.” He won the 2006 Palme for “The Wind that Shakes the Barley.”
Naomi Kawase has made a number of trips to the festival. “Suzaku” won the camera d’or for first feature in 1997. Ten years later her film “The Mourning Forest” won the jury’s grand prize. This year she’s in the competition with her latest film “Still the Water.” Cannes veteran Michel Hazanavicius is back with “The Search” – “The Artist” garnered an acting award at the festival before the rest of the hardware (including a couple of Oscars™).
Canadian Atom Egoyan won the Grand Prize in 1997 for “The Sweet Hereafter.” This year he’s back with “Captive.” Olivier Assayas had a few trips up the red carpet with films in the competition. “Clean” won acting honors for Maggie Cheung in 2004. Now he’s back with “Sils Maria,” with Juliette Binoche and Kristen Stewart.
Bertrand Bonello has been to Cannes before, both in the competition (with “House of Tolerance” in 2011) and elsewhere (his film “The Pornographer” won a prize at Critics Week in 2001). This year he arrives with “Saint Laurent,” another take on the famed designer.
“Waiting for Happiness,” by Abderrahmane Sissako, was honored by international film critics when it screened in Cannes’ Un Certain Regard in 2002. His new film “Timbuktu” will screen in the competition this year. And Andrey Szyagintsev, whose film “Elena” won a special jury prize in Un Certain Regard in 2011, now has “Leviathan” in the competition.
This illustrious group will be joined by Bennett Miller, with “Foxcatcher,” and Damian Szifron, with “Wild Tales.” Both are making their first appearance at the festival, but each has a healthy body of work behind them already. More will come for most of these filmmakers, as their films unspool in the Lumiere Theater. The fun is just beginning.
In addition to the more than 80 feature films (a very loose count) in the various sections –Compétition, Un Certain Regard, Quinzaine des Réalisateurs, Semaine de la Critique, and those films that, for various reasons, show up out of competition, there’s a world of media and images at the Festival de Cannes. From press kit photos to the paparazzi pix and shots from the red carpet, there’s an official photograph overload. But go to the festival’s website and look for a section titled Hors-champ and you will find, among a selection of shots of festival preparation – the streets of Cannes before opening night, and some great candid photos taken by M. Gilles Jacob - a wonderful series of line drawings (“trait continu”) signed by the artist Dgé Paris (Geraldine Goldenstern Demey), who has drawn a veritable picture-book story of off-camera moments in and around the festival. After the festival ended, we met in Paris to talk about her style, her art, and how she came to tell the “off-camera” story of the festival.
She’s a self-taught artist whose work also includes sculptural pieces. And even before Cannes, she was showing her work in the Muriel Guépin Gallery in Brooklyn’s Cobble Hill neighborhood. (The gallery has since relocated to Manhattan) Now that Brooklyn is the hippest place in the universe, one could say she was well ahead of the trend! She has also worked in the theater – one of her first jobs in France was as an assistant for a stage director. It was there (trying to figure out a way to present weekly reports) that she began to hone her sketching style. She found that theater is linked to cinema, especially in the way the teams work: very intense work, very focused – working for concentrated period of time with a new family, of sorts.
And it is in cinema where she does much of her work now – mostly as a script consultant, although she works for the Festival de Cannes for a few months a year. And so it was that she “drew” the festival – on her lunch hour, in the evenings. While we call her work line drawings, she has a spontaneous style that is almost like poetry: She does not look at her paper or her pen, but at the scene before her, that she wants to describe. And since she is also a writer (she has written poems and short stories), she creates poetic descriptions for each drawing. Although each illustration is accompanied by text, the pictures by themselves form a sort of narrative of their own. These fabulous festival drawings – of a press conference, of a security guard, of an old section of Cannes, away from the glitz of the Croisette – also create a diary; one drawing for each day of the festival.
Of course, she does more than these beautiful pen and ink drawings, some of which adorn this posting. To see more of her black and white sketches, as well as color drawings and sculptures, go to her Facebook wall (Dgé Paris), or click on these links:
Geraldine loves cinema. She loves to draw. And she loves to write. And in a corner of a website, she is able to combine all of her passions – and take us out of the frantic pace of the festival in the process.
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