"Paris 36" *** (out of ****)After watching strange movies like "Thirst" (2009) and "Taxidermia" (2009) it is nice to watch a normal movie about normal people with no violence and disturbing images.
I looked forward to seeing "Paris 36" (2009) when it was released in theatres earlier in the year but bad reviews kept a lot of people away. Some critics like the NY Times' A.O. Scott, who sometimes knows what he's talking about, called the film a "national embarrassment". The much better critic, Michael Wilmington, didn't like the film either, nor did Roger Ebert. But neither was as hard on the film as Scott. Perhaps if the film had Batman or Spider-Man in it they would have all liked it.
The critics complained the film was too sentimental and had too much French nationalism. I've noticed in this country we treat sentimentality as if it is a cancer. People don't like sentimental movies for some reason. They find them cheap and vulgar. As far as French nationalism goes, geez, how many movies show American nationalism and the critics love it? What the heck was Frank Capra doing? Sometimes I feel like critics get an idea in their head and all of them run with it, not really thinking about what they are writing.
"Paris 36" is no masterpiece, I'll grant you that. But what's wrong with watching a sweet, old-fashion, escapist piece of entertainment? I'm usually a sucker for these type of movies so clearly I'm in the minority.
The film was directed by Christophe Barratier, who directed the Oscar nominated "The Chorus" (2005) which also opened to mix reviews. This new film stars Gerard Jugnot (who was also in "The Chorus") as Pigoil. A stage hand at a music hall. As 1935 comes to an end, the music hall will have to close down when the owner is unable to pay his rent to Galapiat (Bernard-Pierre Donnadieu). Who wants to knock down the building and rebuild it.
With the new year everyone finds themselves out of a job. The film though has strong political ties. Many of the workers at the music hall were leftist, headed by Milou (Clovis Cornillac). After the 1936 elections the leftist Leon Blum government has taken over, causing all workers to go on strike.
But with no job Pigoil loses custody of his son Jojo (Maxence Perrin). He will now go back to his mother, Viviane (Elisabeth Vitali) who was cheating on Pigoil and walked out on them. Pigoil big plans is to re-open the music hall with the help of the old gang, including Milou, Jacky (Kad Merad) and a newcomer, Douce (Nora Arnezeder).
You can probably guess how everything will play out. I'll admit there are no surprises to the story. It follows a simple formula that we have seen variations of in other stories. But "Paris 36" does everything with such style it won me over.
Some of the characters are able to grow on us but the one I was most impressed with was Douce. Nora Arnezeder is very beautiful and quite a talent. I'm not sure if that is really her singing but if it is she has a wonderful voice.
And that leads to another thing I enjoy about the movie. It has a terrific musical score. I wonder if it is possible for the film to win an Oscar nomination for the music. The songs might be too good for the Academy. Remember they let Eminem win an Oscar once.
"Paris 36" went on to earn 5 Cesar nominations (the French Oscar). It is a sweet light diversion with eye candy cinematography, likable characters and great music.
"Thirst" *** (out of ****)
I struggled with this one. I was ready to give it 2 and 1\2 stars but changed my mind because the more I thought about it, I suppose the film is inventive and creative enough to gain an audience.
"Thirst" was directed by South Korean filmmaker Chan-wook Park. He is considered one of the country's best horror directors. He was part of the horror anthology masterpiece "Three...Extremes" (2005), his story "Cut" was probably the best. And he is best known in this country for directing "OldBoy" (2005).
"Thirst" is a combination of vampire story mixed with Emile Zola's "Therese Raquin". But the film is not your typical vampire movie. It is a clever twist on the familiar story. Here we have Priest Sang-hyeon (Song Kang-ho) who goes to Africa to volunteer to find a cure for a deadly disease. Every volunteer has died. And so does the Priest, except, after a blood transfusion, he comes back to life. Now he is a vampire.
When he returns from Africa he is treated almost as a saint. Various people now want him to pray for their loved ones. It is when he returns he meets an old childhood friend, Kang-woo (Shin Ha-kyun) who has cancer and his wife Tae-ju (Kim Ok-vin).
The priest and Tae-ju begin an affair and she plants the idea to kill her husband, this is where the "Therese Raquin" aspect of the film kicks in.
"Thirst" is a very bloody picture with lots of disturbing images. The film is almost unrelenting in its shock value. I haven't seen many South Korean films. But I've noticed a trend in Asian horror films and cinema from the country. They are all incredibly violent. Even Park's contemporary Kim Ki-duk makes disturbing films. Watch his "Bad Guy" (2001) and "Samaria" (2004).
What exactly about all this violence appeals to South Koreans? I don't have the answer but "Thirst" is a typical example of cinema from the country. The film was even nominated for a palme d'or at Cannes.
Will everyone like "Thirst"? Not at all. This is far from a mainstream film. But as I said it is a clever twist on the vampire legend.
The story of "Therese Raquin" was filmmed once before by the great filmmaker Marcel Carne in 1953 starring Simone Signoret. I reviewed it on here before. That is a much better film dealing with the same material. As far as the vampire parts go, I prefer last years "Let the Right One In" (2008), which was also a new twist on vampires, making them 12 year old children.
"Thirst" will be good for those who like their cinema on the cutting edge.
"Taxidermia" * 1\2 (out of ****)
I've usually written about classic Hungarian cinema. The great works by Istvan Szabo, Miklos Jancso or Karoly Makk. They were part of what is known as the Hungarian New Wave. I appreciate those films a great deal and I'm able to relate to them. Modern Hungarian cinema doesn't often impress me.
I've seen such titles as "Delta" (2008) and "The Last Blues" (Az utolso blues, 2002) neither of which I liked. There have been some good ones in recent years; "I Love Budapest" (2001), "Stop Mom Theresa" (Allitsatok meg Terezanyut, 2004), "Kontroll" (2005) and my favorite, the romantic comedy "Just Sex & Nothing Else" (Csak szex es mas semmi, 2007).
"Taxidermia" (2009) was directed by Gyorgy Palfi. It is his second film coming after a documentary "Hukkle". The film was generally well praise as has been, to my surprise, this film.
"Taxidermia" follows three men, all related. First there is Morosgovanyi (Csaba Czene) a soldier who is obssessed with sex and masturbating. Then there is his son, Kalman (Gergely Trocsanyi) who has become a world's speed eater champion. And finally his son, the puny Lajos (Marc Bischoff) who has become a taxidermist.
What the heck does any of this mean? What is the point of all of this? Many have championed the film's visuals. But what about the story? I have no clue what any of this was truly about. And honestly, I don't care.
The film has some truly bizarre images and an unhealthy amount of violence and gore. Not as much as "Thirst" however.
If there is an audience for this film it is probably the same people who will like "Thirst". I recommended "Thirst" because at least it had a story and I was able to follow it. "Taxidermia" doesn't have much of a story. If it did, I would probably extend to it the same courtesy I did "Thirst".
These aren't really my kind of films I'll admit. I don't mind experimental cinema but it has a way of dividing an audience. In this case I was on the other side. And quite happily I might add.
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