En garde, worldwide enemies of France, along with all freedom-loving people! Hubert Bonisseur de La Bath AKA super-agent OSS 117 is on the case! Actually, he’s on two cases as a pair of his deadliest missions is now available in a nifty ultra-cool double BluRay gift set. Yes, I know Santa “made the scene” over a week ago, but if you’re wondering what to do with your gift cards or return credits, well…
First, let’s crack open the dossier file on this operative. The character springs from a series of novels begun by writer Jean Bruce, beating Ian Fleming’s 007 by six years. Of course, the movie studios beckoned, and a movie franchise premiered in 1957 and concluded in 1970. Ah, but you can’t keep a good spy down. Five years before they teamed on the Oscar-winning THE ARTIST, director/co-writer Michel Hazanavicius and star Jean Dujardin re-imagined the hero as a slapstick and often clueless oaf. The inspiration for the 21st-century incarnation is of course OG superspy Sean Connery’s Bond, along with touches of James Coburn’s Derek Flint and Dean Martin’s Matt Helm. However, most current audiences may compare him to Maxwell Smart (Don Adams and Steve Carell) and Mike Meyer’s Austin Powers.
The major difference from the last two agent’s exploits is the filmmaker’s expert mimicking of the look and style of the spy genre of the 60s. For instance, in the first parody flick from 2006, OSS 117: CAIRO, NEST OF SPIES, which is set in 1955, there are lots of rear-projection sequences, day-for-night photography, and bright “pulp novel” color (except for the black and white WWII flashback prologue). Dujardin is the perfect sexist equal opportunity offender in his slick-tailored suits accented by his goofball grin and expert comic timing. He’s sent to Cairo to track down the killers of an old pal. And for the romantic subplot, he’s paired with future THE ARTIST co-star Berenice Bejo as a tough Arab operative.
And on the second disc we jump ahead to swingin’ 1967 for OSS 117: LOST IN RIO, as Hubert heads to “warmer climes” to make a payoff (cash for a list of French Nazi colluders). The colors are still eye-popping reflecting the “mod” look (lots of hippies). Plus there’s a great nod to that era’s multi-image, split-screen storytelling ala THE THOMAS CROWN AFFAIR, not to mention the use of footage from a 50s classic, a Hitchcock-inspired finale, and Matt Helm himself, Dean Martin, crooning on the soundtrack. Hubert hasn’t become more enlightened with time as he clashes with another beautiful female spy, this time from Mossad, played by Louise Monot while eluding former Nazis, vengeful Asian assassins, lucha libre goons, and an American CIA contact who mumbles English language expletive-laden insults.
Now, the gorgeous BluRay transfers should be enough to satisfy any spy parody fans. Ah, but that’s not all you get! Each disc is jam-packed with fantastic extras. There are deleted and alternate scenes, bloopers, feature commentaries, photo galleries, teasers, trailers, and “making of” docs. Actually, the second disc has a bit more as we’re with the cast as they descend upon cinemas running sneak previews and has a very funny on-set profile of star Dujardin. It’s hours of sublime entertainment. And it would look great next to a heart-shaped box of Valentine’s Day candy, or it could easily fit into an Easter basket of goodies. Magnifique, Monseuir OSS 117!
More prevalent now, than perhaps anytime in history, is the combined or “blended family” when a single parent with kids weds or begins a household with another parent with kids. It’s been the staple of gentle comedy like “The Brady Bunch” TV series and feature films and both versions of YOURS, MINE, AND OURS. The biggest conflicts in those earlier shows usually involved sharing bathrooms and noisy dinners. But those families’ heads were nearly always widows and widowers without ex-spouses showing up to further complicate matters. These more untidy splits are often the source of drama instead of mirth in many serious examinations of this type of family structure. And this isn’t something native to the USA. Overseas these new families must more often deal with different languages and cultures. Writer/director Asghar Farhadi follows up his Oscar-winning family drama A SEPARATION with this new tale of family clashes and deceit whose characters must deal with their actions in THE PAST.
THE PAST begins in the present day at a very busy Paris airport. Marie (Berenice Bejo) is picking up her husband Ahmad (Ali Mosaffa). It’s after they head to the parking lot that we find out that this is not a typical domestic scene. The two have not seen each other for several years when he had flown back to his native Iran during a time of inner turmoil. Ahmad has finally returned (Marie reminds him that he’s backed out of several trips at the last-minute) in order to finalize their divorce so that she may wed her new beau (and father of her upcoming baby) Samir (Tahar Rahim). Since she had not reserved him a hotel for fear of him canceling again, Marie drives them back to the house they once shared, a place she now shares with Samir. There Ahmad meets the spirited six year-old son of Samir, Fouad and is reunited with his stepdaughter, nine year-old Lea (Marie has two daughters from her husband prior to Ahmad). Later Lea’s high school aged older sister Lucie (Pauline Burlet) finally gets home (she’s been staying out all hours). Lucie reconnects with Ahmad and confesses her intense dislike of Samir. She pleads with Ahmad to help her move away from her mother and her new man. Lucie also gives him the lowdown on Samir. Turns out that his wife, Fouad’s mother, has been in coma and lies in a hospital after a botched suicide attempt. Was this prompted by learning of an affair between Marie and Samir? If that’s true, how did she find out? This tangled web of misunderstandings and lies will turn Ahmad’s brief visit to sign some legal papers into a tortured return that may tear apart this new family before they can start anew.
The actress most familiar to audiences may be Bejo from her Oscar nominated role in THE ARTIST. Here she’s given an even greater opportunity to showcase her considerable dramatic skills. Maria is quite a complex character. She tries to act civil and friendly to Ahmad, but it soon becomes clear that his leaving still affects her like an old wound. There’s also a vagueness to her as she wishes for her ex to sign those divorce papers and be left unaware of the particulars of her new life. The most impressive scenes are those in which she must confront her eldest daughter. Tensions are usually high during the teen years, but these heated arguments and accusations unleash an almost uncontrollable fury in Marie. With this film Bejo proves to be a formidable actress beyond her dazzling beauty. Luckily her partner in those scenes, Burlet as Lucie, is able to match Bejo’s intensity. She too nurses the wounds from Ahmad’s exit and resents this new man in her mother’s life. Lucie tries to mask her sorrow with rebellious behavior (satying out all night), but we can still see a glimpse of that lonely child. Mosaffa as Ahmad also tries to hide his guilt at leaving, especially with Lucie who thinks of him as her only father figure. He knows that he must earn his way back into the family in order to try to repair the many broken lives on a collision course. It was just supposed to be a quick trip, but this legal obligation turns into a rescue mission. Rahim as Samir is also torn between his obligations to his comatose wife and desire to begin anew with Marie, complicated by his very sad, angry, confused young son. Kudos also to Sabrina Ouazani as the shy, conflicted illegal immigrant worker who witnessed the suicide attempt by Samir’s wife.
Farhadi directs this cast with great skill, but the film is ultimately sabotaged by his own overly melodramatic script. In the film’s second half, Mosaffa and Rahim almost become Iranian Hardy Boys, digging up clues and interviewing suspects, in order to find out the truth behind the botched suicide. Quickly this intimate family drama turns into an Agatha Christie-inspired daytime TV serial (or “soap opera”) with one startling revelation dropping every few minutes (almost timed for commercial breaks). Happily the melodramatic turns don’t detract from the stellar performances (especially the wondrous Bejo) or the enchanting Parisian locations. THE PAST is an engrossing look at modern blended families that often works despite some treks into florid melodrama.
3.5 Out 5
THE PAST opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas
Worldview Entertainment has closed a deal for the North American distribution rights for Academy Award winner Michel Hazanavicius’s drama, THE SEARCH, starring Academy Award nominees Bérénice Bejo and Annette Bening.
Hazanavicius wrote the screenplay and is reuniting with Academy Award winning producer Thomas Langmann, and his award winning production team from THE ARTIST.
THE SEARCH is the story of an NGO worker who forms a special relationship with a young boy in warn-torn Chechnya and is based on Academy Award winner Fred Zinnemann’s Oscar-winning 1948 film, with the same title, which is set in post-World War II Berlin.
The production is currently filming in the country of Georgia before moving to France.
Worldview’s Christopher Woodrow, Molly Conners, Maria Cestone and Sarah E. Johnson will executive produce. THE SEARCH is the second acquisition for Worldview this year following the pre-Cannes pick-up of the competition title, “Jimmy P.,” starring Academy Award winner Benicio Del Toro, which was later sold to IFC Films.
Wild Bunch is handling international sales and is introducing to the film to buyers at AFM. CAA represented Worldview on the acquisition.
“Worldview is thrilled to partner with Michel and Thomas as they reunite after their Oscar-winning success with “The Artist.” This film is a daring and heart-wrenching story and we believe it will be masterfully executed,” said Worldview CEO, Christopher Woodrow.
Leading up to AFM, Worldview Entertainment announced plans to finance and produce the crime thriller, “Candy Store,” starring Robert De Niro, Jason Clarke and Omar Sy, which Academy Award winner Stephen Gaghan will direct; Takashi Miike’s crime thriller, “The Outsider,” starring Tom Hardy; “Term Life” for Universal Pictures, directed by Peter Billingsley and starring Vince Vaughn and Hailee Steinfeld; and Kim Farrant’s thriller, “Strangerland,” starring Academy Award winner Nicole Kidman, Guy Pearce and Hugo Weaving.
In theaters September 6th, here’s the new trailer for POPULAIRE.
Spring, 1958. 21-year-old Rose Pamphyle lives with her grouchy widower father who runs the village store. Engaged to the son of the local mechanic, she seems destined for the quiet, drudgery-filled life of a housewife. But that’s not the life Rose longs for. When she travels to Lisieux in Normandy, where charismatic insurance agency boss Louis Echard is advertising for a secretary, the ensuing interview is a disaster. But Rose reveals a special gift – she can type at extraordinary speed. Unwittingly, the young woman awakens the dormant sports fan in Louis. If she wants the job she’ll have to compete in a speed typing competition. Whatever sacrifices Rose must make to reach the top, Louis declares himself her trainer. He’ll turn her into the fastest girl not only in the country, but in the world! But a love of sport doesn’t always mix well with love itself…
Below are two conversations with director Régis Roinsard and actress Bérénice Béjo.
This is your first full-length feature. What’s your background?
I’ve always wanted to tell stories through images and at school I used to photograph the kids who were considered weird. To be honest, I must have been one of them since I spent all my time recording films from television so I could dissect them later. I studied cinema, then did many different jobs in film: grip, sets, sound, etc. I wanted to confront the technical realities of filmmaking. I shot my first short early on, then three more, then ads, promos and music-related documentaries for singers like Jean-Louis Murat, Jane Birkin and Luke. These were commissions but they became mine, and my intention was always to make a full-length feature film. If I took my time it’s because I was waiting for the right story to come along.
How did the idea of a speed typing competition come to you?
In 2004 I came across a documentary about the history of typewriters, which included a very short sequence showing speed typing competitions. These thirty short seconds were so fascinating that I saw their potential right away. I immediately drafted the main story lines. This world of the typewriter seemed crazy to me. I thought it was incredible that it could have become a sport and I was captivated by the rapport between man and machine. At first I only had the young female champion character; the male character didn’t exist. But I’d already imagined her to be from a small village and had given her the name of one of my grandmothers. I should add that, like Rose, I come from a small town in Normandy and that Paris represented the big metropolis, out of my reach.
How did you gather information from that point on?
I started to research the ‘sport’ of speed typing, and the schools that taught typing and shorthand. This was back in 2004, and it was very difficult as all the schools were closing down and there were hardly any archival documents. I was only able to find short videos showing typing competitions on the Internet. Among the most interesting documents I found was a photo of an American championship happening in a place like a velodrome in front of thousands of spectators. I also found some old advertisements: typewriter manufacturers used to organize speed typing competitions. They had made a census of regional championships and I met exchampions, male and female. They all told me about the mental pressure they’d been under and about destabilization techniques between opponents using the eyes, which confirmed for me the notion that this was a true sport. But at that stage I didn’t know if the film would be a comedy or a drama.
Then you started to write?
Yes, with the idea of finding my own personal tone. First I wrote some thirty pages, creating characters who revolved around Rose, and with my friend Daniel Presley, who is a music producer and great American ’50s comedy movie buff, we created the characters of Bob and Marie. As a result we decided to write the screenplay together. Daniel has very high standards and a Woody Allen kind of humor. We thought we’d write the dialogues in English and that I would adapt them into French so we could have some alchemy between American comedy and the “French touch.” I loved the fact that Daniel made very relevant observations on dialogue and rhythm. We wrote a first draft but were only 60% satisfied with it. We thought that the psychological arc of Rose’s character needed more depth. I had read screenplays by Romain Compingt, who is 26 and a great fan of Britney Spears and Marilyn Monroe. Curiously, I thought he had the right kind of sensitivity needed to enrich Rose’s character. So I called him and three weeks later he produced his version of the screenplay, with which we were 85% happy. He made the love story more daring. The three of us then worked together, wondering if a collaboration between an admirer of young fallen stars, an American musician and me would work – it wasn’t so simple!
At what stage did Alain Attal get involved?
He was the first to read the screenplay. We gave it to him on a Friday and the following Tuesday he told us he wanted to make the film. We met and it became apparent very quickly that his vision of the film was the same as mine. What’s great is that he himself acts like a coach. He gets directors in condition so they can give the best of themselves. Alain is my Louis Echard! He is also driven by a real kind of madness and artistic obsession; he pushed me and encouraged me to question myself, which I love. Furthermore he’s a great film buff and we share tastes and visual references. We were able to talk about Nicholas Ray, or Godard, about whom he knows everything, or the color films of Joseph Losey.
Did the project come partially from a desire to evoke the late ’50s?
That was a part of it, even if it wasn’t my overriding intention to pay homage to that era. In fact the ’50s fascinate me aesthetically: music, literature and film. But I also like more recent films that are set in that time, like PLEASANTVILLE or PEGGY SUE GOT MARRIED and I wanted the direction and the editing to be modern.
What do you like so much about the ’50s?
It’s when teenage consumerism began – with the birth of rock ’n’ roll and the evolution of dress codes – and the very beginnings of the entertainment industry and sport sponsorship. In France it’s the post-war boom years (from 1945 to 1975), where there was hardly any unemployment and the future looked rosy, even if the state of the world was a lot darker than anyone wanted to admit. Because it was a strange decade where people who had just emerged from the war preferred to avoid having to face tragic events happening in the world. It is only during the following decade that they had to confront them.
It was also a turning point on a sociological and cultural level.
Yes, since 1958-59 immediately preceded the beginning of women’s liberation. Two or three years later, skirts will get shorter and women’s position in the workplace will start to change. I like this era because it’s a crucial time that announces the next sixty years. It’s also true regarding fashion: today we still wear the iconic Ray-Bans. It’s also an era obsessed with speed: car speed records are established; the first supersonic planes are developed. The obsession with speed that characterizes the ’50s touches me all the more so since we are still affected by this quest today.
What were you aiming for visually?
We worked on the artistic direction peripherally. We wanted to recreate the ’50s by mixing adocumentary aspect, movies of the era that I love – American movies in particular – and people’s fantasy of that time. Everything to do with the lead characters is inspired by cinema and fantasy, by drawing on the works of Billy Wilder or Douglas Sirk; the further you move away from these lead characters the closer you get to documentary. The supporting roles and the extras for example are more anchored in a realistic vision.
What about the color?
We researched many ’50s American and French advertisements and watched most of the color films that were made at that time in France. It wasn’t easy since most French films were still being shot in black and white and the few that were in color were shot in studios! THE RED BALLOON and ZAZIE DANS LE METRO were a source of inspiration. But we cheated a bit, since we also watched nouvelle vague films like Godard’s A WOMAN IS A WOMAN.
Did you have other references beside cinema?
We had a reference work by Alex Steinweiss, an illustrator who designed many record sleeves of the period. His work encompassed the entire chromatic scale – for costumes and sets – we used for the film. I also provided the artistic team with the names of certain designers and stylists. I insisted that the film be my own aesthetic vision of the ’50s. Most challenging were the exteriors. So we looked at archival color images to stick to the desaturation of the period. We noticed, for example, that cars were always monochromatic since body colors hadn’t yet been industrialized, or were reserved for a rich clientele. We opted for a desaturation while keeping red, green and blue as dominant colors. I wanted the eye to be constantly stimulated.
Jacques Demy comes to mind. Was he also a reference for you?
Absolutely! I love stories that seem rosy but aren’t when you look close-up. That’s probably what links POPULAIRE to a fairytale. And if Demy’s films sometimes have a happy ending you have to be able to detect the irony between the lines. Demy uses magic and illusion to slip in a message deeper than it appears. I love DONKEY SKIN above all, but THE UMBRELLAS OF CHERBOURG was also a source of inspiration. That said, POPULAIRE is also a swashbuckler. The last scene was inspired by George Sydney’s SCARAMOUCHE: when Louis arrives in New York we find ourselves in a swashbuckler or gladiator fight.
Why did you give a wink in the direction of VERTIGO?
It wasn’t deliberate at first…the dominant red and blue come from BUTTERFIELD 8 by Daniel Mann, where an adulterous couple goes into a motel. Then we watched A WOMAN IS A WOMAN, which also has a red and blue scene. I was inspired by a fantastical vision of Hitchcock who was influenced by other directors. I play with it of course because when Déborah François comes out of the bathroom, I thought I was seeing Kim Novak. We had our composer listen to the VERTIGO score and it became impossible for him to move away from it.
How did you develop the characters?
When writing Rose, I thought of all the women in the ’50s who wanted to become emancipated, like my mother. She was a farmer’s daughter who left her parents to work in the big city. She met my father who was the director of an insurance company, closer to a country doctor in his relationship to people than to what an insurance man is today. He was a catalyst in his relationship with his clients, and in a way with my mother whom he helped become liberated. When I was born my mother did the same with my father: she became his ‘coach’ when he retired. I like mutually beneficial relationships between people. In POPULAIRE, Louis helps Rose, he has a desire to be her coach, and little by little the roles are going to reverse. I thought I could find a balance in this link between the characters that become catalysts for one another by turns. Besides, I kept telling my crew: “You are both coaches and sportsmen.” I’ve always loved both.
Please tell us how you chose your actors…
I wanted to have a cast where each one would bring his/her own particularity, like a conductor who chooses musicians who will communicate with one another and try to stay in harmony. A little like Tim Burton who blends famous actors, some lesser-known ones and theatre actors. I knew exactly what I wanted since the characters are very well defined and my actors come from diverse backgrounds. Romain Duris was an obvious choice because I’m very impressed by his gift for comedy and rhythm. He got really involved in his character and asked for parts of the screenplay to be re-written to give more depth. He also conducted his own research: he met a football coach who explained what his work was all about to him. Romain constantly looks deeper and ends up knowing more about his character than you do. I love the fact that like Louis is quite mysterious and doesn’t say much about himself. This fuels me and fascinates his partners.
And Rose Pamphyle?
Alain Attal and I thought we needed an unknown actress from the start. But when it came time for casting we decided to keep an open mind. We auditioned about 150 actresses, some of them novices, and Déborah became the obvious choice for everyone. She blends fragility with touching absent-mindedness that can evolve into something glamorous – and that’s exactly what we wanted for Rose, this country girl who becomes a star. I was astounded when she actually blushed during our first tests. She was Rose Pamphyle. We had to be able to place her photo among photos of the stars of that era without it being shocking, so she could become a new icon. I wanted to tremble when I saw Rose Pamphyle. I like Déborah’s independence and resilient character. And we both had in common the fact that POPULAIRE was a chance to work on a big film in which we invested a lot of ourselves.
How did you direct her?
At times I was a sort of Louis Echard for her, particularly during her training as a typist; then Romain took over from me quite naturally. He even went to Liège to watch her train and learn to type with ten fingers. I asked Déborah to watch Billy Wilder comedies with Audrey Hepburn and Shirley MacLaine but I also wanted her to stay close to Marilyn Monroe. I gave her a lot of images of that era so she could understand how women in the ’50s held their bodies, how they kissed, sat on and got up from a sofa, etc. Déborah doesn’t imitate; she absorbs everything you give her and re-interprets it in her own manner while managing to let go entirely. Only her ponytail is directly inspired by Audrey Hepburn. We even stuck a poster of her on her bedroom wall.
Why did you want Bérénice Béjo for the role of Marie?
I discovered her in THE ARTIST. I found her particularly moving when she grabs Jean Dujardin’s coat in his dressing room. I understood you needed to have great sensitivity to succeed in such a scene. I also wanted a beauty, the kind of girl we all admired at school. We had to be able to believe in the relationship between her and Romain, between him and his ideal woman. Even if Romain is totally in love with Rose and Marie is married to Bob, Louis and Marie are together forever. I also knew she was able to play the role of a mother who is perfectly happy, without being duped by the position of women in society of that time. Romain was amazed during their first reading together at how he was able to perceive both her reassuring-motherliness and her ‘ahead-of-her-time sexiness.’ As her shoulder-length hair betrays, she’s a modern woman who is already in the ’60s.
Why did you want Louis Echard’s friend to be American?
In the ’50s, the French used to fantasize about Americans. I also wanted him to symbolize the switch from a consumer society to entertainment industry in France. I was also able, thanks to Bob’s character and to Shaun Benson who portrays him, to highlight the musical comedy side of the film since Shaun reminds me so much of Gene Kelly.
How did you choose the pre-existing music tracks?
First of all I didn’t stick to the year in which the action takes place. I preferred to give myself a margin of about three years before and after 1958. I love American lounge music and light jazz like Les Baxter or Martin Denny. I’m also passionate about ’50s composers who wrote for Sinatra and other crooners. And I wanted to have French songs, but in post-war France the dominant music was Yves Montand, Léo Ferré, Georges Brassens and Edith Piaf. I couldn’t find an equivalent of American popular light jazz. Then I discovered little-known artists such as Jack Ary, who led a cha-cha and mambo orchestra. He released about twenty 45s and that’s how I unearthed “The Secretary’s Cha-Cha.”
What about the original score?
I realized that I needed one, as the pre-existing material wasn’t enough for me. I called Rob, who works with the band Phoenix and who’s great with melodies, and Emmanuel d’Orlando as well. Together they composed an original score that brings great emotional impact to the film. I’ve always thought that if I were going to do melodrama I’d really go for it. I was inspired by ’50s and ’60s recording methods, including the positioning of the microphone. We recorded in France and the musicians who are used to playing opera were delighted to play pop while watching images from the film. The end result is close to a musical and I’m delighted since Stanley Donen and Bob Fosse are favorites of mine.
Actress Bérénice Béjo
How did you get involved in the project?
When I received the script last September, I didn’t let go of it. It seemed so polished, so sincere and precise. But more importantly, I was moved by the story. At first I told my agent that the part of Marie was perhaps too small. But that same evening I thought how stupid that was, that my reasons for acting are the screenplay, not the size of the role. So I called my agent back to explain that I’d like to be part of this project, even in a supporting role. When I met Régis I was very enthusiastic and wanted him to understand that I was ready to play the part fully, with hair rollers, apron, and rolling pin. I think that might have been what he liked about me. I didn’t try to change the character or smarten her up; I wanted to play her the way she had been written. Then I did some tests – even though I was very pregnant at the time – to convince him. But I had invited him to the press screening of THE ARTIST so he could understand how I acted.
What was your feeling when you read the screenplay?
I was struck by the fact that it was as tight as could be, each scene had been thought through and nothing left to chance. There was a great expectation in the profession. Everyone had heard about this project! It’s very rare to read such a polished screenplay with nothing to add or change.
Marie, your character, is a real emotional catalyst.
That’s what I loved about her. She has only a few scenes but one crucial one, where Romain Duris’ character realizes he can’t miss another opportunity for happiness and living something intense. It’s a strong scene that Régis had, by the way, re-written. When you play a supporting role but you have at least one scene where you have to defend your point of view, it somehow justifies making the film. Marie pushes another character in order for him to find fulfilment. She truly evolves and follows a real journey. That’s what makes her particularly interesting.
Was the work on costumes helpful to build the character?
Charlotte David, the wardrobe mistress with whom I had already worked on OSS 117, imagined Rose Pamphyle wearing pretty, flowery dresses whereas she saw my character very differently. Since Marie is married to an American and lives in a modern house, she suggested I wore trousers and ballet shoes, which was very helpful in creating my character. For me, Marie already belongs to the ’60s. Rose is a young provincial woman and Mary a modern urban woman. It is very important that we can differentiate between them quickly, all the more so since I had only a few scenes and we had to be able to define Marie quickly. The hairstylist opted for a wig since hair at the time was permed and stiff with hairspray so it didn’t move at all. I had already played characters from the ’50s and ’60s so I knew how to hold my body.
Did Régis Roinsard ask you to do any research into the ’50s to help you develop your character?
He sent me photos. For example, in the scene where Déborah François plays the piano, he wanted me to cross my legs the same way he had seen on a photo in a magazine. He wanted me to wear the same shoes and the same trousers that were in the photo. It’s his obsessive side! Every director focuses his anxiety on one thing and Régis needed the atmosphere on set be identical to the ’50s. It reassured him.
How does he direct his actors?
I arrived on set late but I knew the crew quite well and had heard a few bits and pieces from the DP, who also worked on THE ARTIST. I quickly gathered that Régis is meticulous and very precise in his direction of actors, while being a good listener. And since I liked to be directed, we got along fine. We had done some readings early on so we knew where we were going. What I love about Régis is that he intervenes in the actors’ performance, not only on framing or shots. To sum it up, I had a lot of fun.
So far this holiday season we moviegoers have seen Martin Scorsese’s magical tribute to cinema’s infancy, HUGO. In that film he uses all the 3D CGI modern movie marvels to recreate the ” flickers” of the early twentieth century. And now from French director Michel Hazanavcius comes his loving homage to old Hollywood, THE ARTIST. But this film differs from HUGO in that it attempts to completely emulate those golden classics. No 3D or CGI used here. Or color. Or sound (there’s a great musical score, but no spoken dialogue-just title cards). You may think that this is just a gimmick, while some movie fans may roll their eyes at having to read the film. Ah, but it’s no gimmick and the title cards do not make viewing the film a chore. On the contrary, I believe this enhances the whole movie experience. It helps to immerse you into this quiet, stylized, alternate universe. If this is your introduction to the wonders of silent cinema, then you are a lucky film fan with many more wonders to explore.
Well, let’s first get back to THE ARTIST. It begins in 1925 at the big premiere of matinee idol George Valentin’s (Jean Dujardin) new big screen action epic. Outside the theatre as George talks to the press, a young flapper film fan, Peppy Miller (Berenice Bejo) accidentally gets past the barriers and is photographed with the screen star. Back at this home, George’s unhappy wife (Penelope Ann Miller) is not amused by the newspaper photos of him with his fan. The next morning, with the paper in hand, Peppy, joins the hopeful actors at the extras casting station inside Kinograph Studios. Peppy and George are re-united as she lands a bit part in his new movie. The two’s paths will cross many times over the next few years. Her star is on the rise as she becomes Kinograph’s new screen sweetheart. George’s star is on a different course. The head of the studio (John Goodman) tells him that sound is the future of motion pictures. George laughs this off as a fad and refuses to join in on the “all-talking” craze. He decides to swim against the tide and produce (and write, star, and direct) his next screen all-silent saga. Can George somehow get his career back on track and perhaps team up with Peppy once again?
Most film fans will recognize that set-up as a riff on A STAR IS BORN (at least three big screen versions) with the “talkies” panic subplot of SINGING IN THE RAIN tossed in. Like a great dish, it’s what the master chief does with these familiar ingredients. And write/director Hazanavcius is quite the cook. I’ve enjoyed his two OSS 117 sixties spy spoofs (OSS 117 : CAIRO, NEST OF SPIES and OSS 117- LOST IN RIO) with star Dujardin, but here he really goes beyond these parodies. He’s really given us characters that we’re emotionally invested in while not ignoring the comedy. Dujardin is not the buffoon-ish secret agent, but a very complex actor who’s at once child-like, gentle, egotistical, romantic, and in the depths of despair. He also really looks like a classic screen star (Valentin resembles Douglas Fairbanks, Sr. with more than a touch of the sound-adverse Charles Chaplin) and has an infectious grin. He may be the happiest movie Frenchman on screen since Maurice Chevalier. Bejo has great energy as the big, bright-eyed beauty who truly enjoys every aspect of her back lot adventures. She and Dujardin have terrific chemistry just by the way they look at one another. Miller goes from being an awe-struck fan of Valentin to his screen equal and eventually his protector. These two get great assistance from the several American-born stars. Goodman’s wonderful as the big, blustery poppa bear of a studio boss (a combination perhaps of Louis Mayer, Jack Warner, and Harry Cohn) who tries to project a hard-nosed business exterior, but really loves his staple of stars almost like his children. James Cromwell is also a nurturing fatherly figure as Valentin’s devoted, loyal chauffeur. Besides his work with the human actors , Dujardin also has a special screen bond with a gifted canine performer, a scruffy terrier that is his constant companion. Havzanavcius makes excellent use of the old Hollywood locations and glorious vintage automobiles. The gorgeous black and white cinematography gives the actors a glowing, silver sheen like the movie icons of the golden age. Now, the movie’s not completely silent . There’s a musical score that ranges from a bouncy, comedy theme to a big, brassy jazz number to a great Bernard Herriman piece from a another movie classic. I hate to sound like a film Grinch and say that the film could’ve trimmed eight or ten minutes of Valentin’s downward spiral, because the movie’s strengths far outweigh this minor quibble. For want of a better word, THE ARTIST is charming. Completely, disarmingly charming. This may be the best present we’ve gotten from France since Lady Liberty.
Academy Award-nominated actress Carey Mulligan will be honored with the “Hollywood Supporting Actress Award,” Berenice Bejo, Jean Dujardin, Elle Fanning, Amber Heard, Andrea Riseborough, Shailene Woodley and Anton Yelchin will receive the “Hollywood Spotlight Award” at the Hollywood Film Awards Gala Ceremony
HOLLYWOOD, Calif., Oct. 10, 2011 – The 15th Annual Hollywood Film Festival and Hollywood Film Awards, presented by Starz Entertainment, are pleased to announce that Academy Award-nominated Carey Mulligan will receive the “Hollywood Supporting Actress Award,” and Berenice Bejo, Jean Dujardin, Elle Fanning, Amber Heard, Andrea Riseborough, Shailene Woodley and Anton Yelchin will receive the “Hollywood Spotlight Award,” at the festival’s Hollywood Film Awards Gala Ceremony, which will take place October 24, 2011, at the Beverly Hilton Hotel in Beverly Hills.
The announcement was made today by Carlos de Abreu, Founder and Executive Director of the Hollywood Film Festival. “It is a privilege to honor Carey Mulligan, Berenice Bejo, Jean Dujardin, Elle Fanning, Amber Heard, Andrea Riseborough, Shailene Woodley and Anton Yelchin for their great talent,” said Mr. de Abreu.
The Hollywood Film Awards Gala launches the awards season. In the past eight years a total of 73 Oscar nominations and 27 Oscars were given to the honorees of the Hollywood Awards.
The 2011 Hollywood Film Festival has also announced that they will honor five-time Oscar nominee Glenn Close with the “Hollywood Career Achievement Award,” Academy Award-nominated actress Michelle Williams with the “Hollywood Actress Award” for “My Week with Marilyn,” Academy Award-nominated actor Christopher Plummer with the “Hollywood Supporting Actor Award” for “Beginners,” actor Joseph Gordon-Levitt with the “Hollywood Breakthrough Actor Award” for “50/50,” and actress Felicity Jones with the “New Hollywood Award” for “Like Crazy.” Other honorees include the cast of “The Help” (Viola Davis, Bryce Dallas Howard, Allison Janney, Chris Lowell, Ahna O’Reilly, Octavia Spencer, Emma Stone, Sissy Spacek, Mary Steenburgen, Cicely Tyson, and Mike Vogel), Director Michel Hazanavicius, Producer Letty Aronson, Screenwriter Diablo Cody, Film Composer Alberto Iglesias, Cinematographer Emmanuel Lubezki, Editor Stephen Mirrione, Production Designer James Murakami, and Visual Effects Supervisor Scott Farrar at their annual Awards Gala. In addition, Gore Verbinski’s “Rango” will be honored at the Hollywood Film Awards Gala Ceremony, along with additional honorees to be announced in the coming weeks.
ABOUT CAREY MULLIGAN
Mulligan can currently be seen in FilmDistrict’s action thriller “Drive,” opposite Ryan Gosling, Bryan Cranston, and Oscar Isaac. Directed by Nicolas Winding Refn, “Drive,” is based on the James Sallis novel. Mulligan will next been seen in “Shame,” directed by Steve McQueen. The film stars Michael Fassbender, who plays a thirty-something man living in New York who is unable to manage his sex life. Mulligan plays his troubled younger sister. “Shame” will be released in the U.S. by Fox Searchlight in December.
This fall, Mulligan began production on director Baz Luhrmann’s adaptation of “The Great Gatsby” in Sydney, Australia. The film is based on F. Scott Fitzgerald’s novel. Mulligan plays Daisy Buchanan. The film will be released by Warner Brothers in 2012.
In September 2010, Mulligan starred in Fox Searchlight’s “Never Let Me Go,” based on the award winning novel by Kazuo Ishiguro. Also in September 2010, Mulligan appeared in Oliver Stone’s “Wall Street: Money Never Sleeps,” from 20th Century Fox, starring alongside a cast including Michael Douglas, Shia LaBeouf, Josh Brolin, Frank Langella, and Susan Sarandon.
Mulligan received an Academy Award nomination, a Golden Globe nomination, a Screen Actors Guild Award nomination and garnered critical acclaim for her starring role in the Sony Classics film “An Education,” written by Nick Hornby and directed by Lone Scherfig. Also, she received the British Independent Film Award for “Best Actress,” was named “Best Actress” by the National Board of Review, and was named “Best Actress” by the Orange British Academy of Film (BAFTA). Additional film credits include “Public Enemies,” “The Greatest,” “Brothers,” “Pride and Prejudice” and “And When Did You Last See Your Father” with Jim Broadbent and Colin Firth.
ABOUT AMBER HEARD — “The Rum Diary”
As stunning as she is talented, Amber Heard is making waves with her captivating performances on the big screen. She will next be seen in “The Rum Diary” starring opposite Johnny Depp and Aaron Eckhart. The dramatic adventure film is an adaptation of the Hunter S. Thompson novel and will be released on October 28.
She recently completed production on the independent film “Syrup,” a dark satire also starring Shiloh Fernandez. Heard also starred in John Carpenter’s “The Ward” and the independent film, “And Soon the Darkness,” on which she also served as a co-producer. Some of her other films include “Zombieland,” “The Stepfather,” “The Pineapple Express,” and “North Country.”
ABOUT BERENICE BEJO -“The Artist”
Bejo can currently be seen in Michel Hazanavicius’ silent film, “The Artist,” opposite Jean Dujardin. The film follows a silent movie superstar and a young dancer who become interlinked as the arrival of talking pictures threatens their destinies. In 2001, she entered America’s big screen by performing in “A Knight’s Tale,” and in 2002’s “24 Hours in the Life of a Woman.” Some of her film credits include “What Love Means,” “Prey,” Henri-George Clouzot’s “Inferno,” “Modern Love,” “OSS117: Cairo, Nest of Spies,” “Final Arrangements,” “Le Grand Role,” and Cavalcade.”
ABOUT ELLE FANNING — “Super 8”
Elle was most recently seen last summer starring in the blockbuster film “Super 8” for director J.J. Abrams and producer Steven Spielberg. She made her feature film debut in 2001 at the young age of two when she co-starred as a “Young Lucy” in New Line Cinema’s “I Am Sam.” Since then she has starred in more than 10 films and numerous episodes of television. In 2004, Elle appeared in Focus Films’ “The Door in the Floor” from director Tod Williams.
In 2006, Elle appeared in two movies. The first was Paramount’s “Babel,” directed by Alejandro Gonzalez Inarritu and starring Brad Pitt and Cate Blanchett. Next was Touchstone’s “Deja Vu,” directed by Tony Scott and starring Denzel Washington. In 2007, Elle filmed “Reservation Road” where she played “Emma Learner,” the daughter of Joaquin Phoenix, and director John August’s “The Nines.” In 2008, she played the young Cate Blanchett in Paramount’s and director David Fincher’s “The Curious Case of Benjamin Button” opposite Brad Pitt. Also that year, Elle starred as “Phoebe Lichten” in the independent film “Phoebe in Wonderland” opposite Patricia Clarkson, Felicity Huffman and Bill Pullman, which premiered at the Sundance Film Festival with rave reviews for its young star.
In 2010, Elle starred alongside Stephen Dorff in Sofia Coppola’s film “Somewhere,” which won the Golden Lion for Best Picture at the Venice Film Festival. Elle was nominated for a Critics’ Choice Award for her performance in the film.
She will next be seen starring in Francis Ford Coppola’s “Twixt,” which had its world premiere at the 2011 Toronto Film Festival, and this December stars opposite Matt Damon and Scarlett Johannson in Fox’s “We Bought a Zoo” for director Cameron Crowe.
ABOUT JEAN DUJARDIN — “The Artist”
In 1995, Jean Dujardin began his first one-man show, the same year he met Eric Collado, Bruno Salomone, Emmanuel Joucla, and Eric Massot with whom he created the “Nous C Nous.” In 1999, he became “Loulou” in “Un gars, une fille.” This part permitted him to show his talent to a larger public. Since the end of “Un gars, une fille” in 2003, he has appeared in many films.
ABOUT ANDREA RISEBOROUGH — “W.E.”
Having spotted Andrea at the National Theatre, Mike Leigh offered her a place in the company of his latest film “Happy Go Lucky.”
Andrea had a number of film releases in 2010 and early 2011. The first was “Made in Dagenham,” a true story directed by Nigel Cole (“Calendar Girls”), in which she plays the role of a woman working in a Ford factory fighting for equal pay. Her role as a waitress in Rowan Joffe’s remake of “Brighton Rock” received rave reviews at last year’s Toronto Film Festival. Following this, Andrea starred in “Never Let Me Go” (January 2010), an adaptation of Kazuo Ishiguro’s novel.
Andrea can next be seen starring in Madonna’s new film “W.E.” where she plays the role of Wallis Simpson. The film showed at this year’s Venice and Toronto Film Festivals, and will be released this December. She also stars opposite Michael Sheen in “Resistance,” which will be released in London later this year. Andrea most recently finished filming “Welcome to the Punch” with James McAvoy and is currently filming “Disconnect.” Both are set to be released in 2012.
ABOUT SHAILENE WOODLEY – “The Descendants”
Shailene Woodley began her career at the age of 5 when an agent recognized her potential and signed her on the spot. She has been working ever since. She started in commercials and then got her first TV role in the 1999 movie of the week “Replacing Dad,” which starred two-time Oscar nominee Mary McDonnell. More recently, she played the title character in the popular Warner Bros. movie “Felicity: An American Girl Adventure,” which was produced by Elaine Goldsmith-Thomas and Julia Roberts.
Her first lead role performance earned this review: “Felicity offers Woodley’s feisty performance; she’s warm and cheeky, and immensely fun to watch.” Woodley’s other television work includes recurring roles on “Crossing Jordan” (as a young Jill Hennessy), “The O.C.,” and “Jack & Bobby” (where she played the daughter of John Slattery). She has also made guest appearances on series like “Cold Case,” “My Name is Earl,” “CSI: NY” (playing an angel-faced killer), and “Close to Home.” She also had a lead role opposite Ann-Margret and Matthew Settle in the television movie “A Place Called Home,” and co-starred with William Mapother and Treat Williams in “Moola.”
ABOUT ANTON YELCHIN – “Like Crazy”
Anton Yelchin is one of Hollywood’s hottest rising stars. With his highly acclaimed performances in “Charlie Bartlett,” “Star Trek,” “The Beaver,” “Fright Night,” “Like Crazy” and a slew of starring roles in major films this year, Yelchin is quickly becoming a household name. “Like Crazy”, which premiered at the Sundance Film Festival and won the coveted Grand Jury Prize, hits theaters October 28, 2011. Yelchin, who is receiving critical raves for his performance as an American college student who falls for a British exchange student and experiences the joy and heartbreak of first love, was just recently honored by the Aspen Film Festival with the “Artist to Watch” award for his performance in the film.
Earlier this year he Yelchin lent his voice to the role of “Clumsy Smurf” in Sony’s summer blockbuster film “The Smurfs.” He starred opposite Toni Collette and Colin Farrell in “Fright Night,” a remake of the 1985 comedy-horror picture about a teenager who discovers his neighbors are vampires. Yelchin recently finished work on the film “Odd Thomas.” In the film Yelchin will play the title character of “Odd Thomas,” a short-order cook with clairvoyant abilities that encounters a mysterious man with a link to dark and threatening forces. In the film Yelchin will star alongside Willem Dafoe, Addison Timlin and Patton Oswalt. “Odd Thomas” is set to be released in 2012.
Yelchin’s past projects include “New York, I Love You,” “Terminator Salvation” opposite Christian Bale, “Middle of Nowhere” opposite Susan Sarandon, “Alpha Dog,” “Hearts of Atlantis” for which he won a Young Artist Award, among many others.
ABOUT STARZ ENTERTAINMENT, LLC:
The festival and awards presenter is Starz Entertainment, LLC, a premium movie and original programming entertainment service provider operating in the United States. The company offers 17 premium channels including the flagship STARZ® and ENCORE® brands with approximately 19 million and 32.9 million subscribers respectively. Starz Entertainment airs in total more than 1,000 movies and original series every month across its pay TV channels. Starz Entertainment is recognized as a pay TV leader in providing HD, On Demand, HD On Demand and online advanced services for its STARZ, ENCORE and MOVIEPLEX brands. Starz Entertainment (www.starz.com) is an operating unit of Starz, LLC, which is a controlled subsidiary of Liberty Media Corporation and is attributed to the Liberty Starz tracking stock group (NASDAQ: LSTZA).
