Filmmaking – We Are Movie Geeks

A MAGNIFICENT LIFE – Review

We’re still officially a couple of months away from the big Summer movie season, so it’s interesting that one of its staples, the animated feature film, is having quite a successful 2026 (at least the first quarter). After the sports-themed smash from Sony, GOAT, Pixar is scoring (another sports term) big with HOPPERS. It’s still in the top five, a win (again) after their last few original (non-sequel) projects have fizzled. So, now let’s turn to a subject more familiar to the “art house”. Those mentioned flicks are in the usual cartoon genre of slapstick “funny animal” comedy. This week’s wide (select theatres, for sure) is in the “biopic” genre, a nonfiction animated film. It’s not a first as FLEE garnered three Oscar noms five years ago, and 2007’s PERSEPOLIS was a critical hit. Ah, but here’s a twist: the focus here is on a moviemaker, a writer-turned-director. And though he had his struggles, you will probably agree that this man lived A MAGNIFICENT LIFE.

The man in question is French stage and screen icon Marcel Pagnol. We first meet him close to the end of his career, when he “fell out of fashion” in the early 1960s. His latest play isn’t “putting butts in the seats”. After a party, he goes to his opulent home to “tinker” with another of his “perpetual motion machines”. His work is interrupted by the maid, who informs him that a messenger has arrived to pick up his autobiographical piece for a publisher. Ah, he sees that the carrier’s bike needs fixing, so he sends down some tools to “stall” him. Luckily, Marcel’s “muse” finally appears, a “memory-ghost” of himself as a boy of nine or ten. The lad guides him through his life, growing up near Marseille, clashing with his papa over a career pursuit while adoring his mother, who is taken from him far too soon. Eventually, Marcel teaches Latin at the local grade school, but he yearns to be a writer for the stage. After marrying, he and his new bride are swept up by the delights of Paris, where Marcel tries to get his work into a theatre. After returning to teaching, he’s given a chance, though his marriage crumbles. Eventually, Marcel is tapped by the budding local film industry and soon becomes a director and a studio head, opening a facility near his hometown. Over the years, he bonds with the famed actor Raimu, deals with the Nazi invasion in WWII, and begins a new romance with a lovely young actress. The memories fuel his pen, but can Marcel finish his tome before the delivery boy rings the doorbell to collect this rushed memoir?

It’s truly appropriate that the story of this wonderful artist is told by another wonderful artist, master filmmaker Sylvain Chomet. He adapted Pangol’s memoirs for this engaging screenplay. It’s another aspect of his considerable talents, displayed in this, his third animated feature film after the Oscar-nominated gems, THE TRIPLETS OF BELLEVILLE (so delightful) and THE ILLUSIONIST (almost a comedy from the silent era). Let’s hope this isn’t the final entry in a “trilogy”, as he is one of the best artisans continuing the glories of classical 2D “line-drawn” feature-length animation. Yes, there’s some stunning work in CGI out there, but it’s refreshing to see these detailed line renderings brought to swirling life. Chomet evokes the history of historical caricature in his interpretation of these giants of French cinema, in front of and behind the camera. There’s even a touch of puppetry, as the heads are slightly out of proportion to the bodies, much like marionettes. This captures the emotions, since there’s not the manic action of most animation (a criticism from some), but the superb physical acting, especially the gestures and body language, really immerses us in the Pangol legacy. And yes, there’s a bit of computer tweaking with props and backdrops, and a couple of funny animals (who look and behave like, well, animals), but this stretches and expands the medium. Chomet also evokes the era by bringing the Art Deco-style magazine imagery of the 1920’s. And, there’s also the clever use of the real live-action footage when we see Pangol’s work on a movie screen or an editing device. Kudos also to the excellent vocal performances, led by Laurent Laffite as the adult Marcel. In short, Chomet and his army of artisans create a magnificent and moving tapestry of A MAGNIFICENT LIFE. Or should I be brief and just say “Magnifique”?

4 Out of 4

A MAGNIFICENT LIFE is now playing in select theatres

LOREN & ROSE – Review

Jacqueline Bisset in LOREN & ROSE. Courtesy of Amazon Prime

The elegant, fascinating Jacqueline Bisset stars in LOREN & ROSE, as an aging star interviewing with a young filmmaker named Loren (Kelly Blatz) for a role in the filmmaker’s first feature film, after his first film, a short, became a hit on the film festival circuit. Loren is a fan of Rose (Bisset) but is unsure if he should cast her as the lead in his new film. Over appetizers at her favorite restaurant, and waited on by her favorite waiter, Rose charms young director Loren, and starts them on the path to friendship.

Jacqueline Bisset was a superstar in the early ’70s, appearing in a string of high-profile hits, including the Steve McQueen hit BULLIT and Francois Truffaut’s DAY FOR NIGHT, and worked with directors including John Huston, Roman Polanski and George Cukor and starred with Paul Newman, Nick Nolte, Kenneth Branagh and Jean-Paul Belmondo. She seemed to be everywhere for a while. But it has been awhile since we have seen her on the big screen.

LOREN & ROSE takes place in little sequences, over three courses at different times at the same beloved restaurant. There is a touch of MY DINNER WITH ANDRE in their wide-ranging conversations over a meal but the three courses at three different visits also follow the evolution of the relationship between this still vibrate star and the somewhat timid young gay director. There is a framing devise, about an estranged daughter organizing an auction of the star’s possession in the future, after her mysterious disappearance.

There have been a spate of these films featuring beautiful and talented stars of the past. Bisset certainly fits that description but her on-screen presence is more powerful than others. Charming, warm. and bold, Bisset casts her spell over the audience as surely as she does over the young director, with her soft, faint British accent and sharp wit. Bisset has lost none of her charm and even retains much of her good looks along with a feline grace when she moves.

The sequences in the restaurant let her showcase her talent as an actor, often underused in her youth when audiences were dazzled by her beauty.

Like those other films, LOREN & ROSE is clearly intended as a showcase for Bisset’s still-considerable talents. There are some parallels in the story to Bisset’s own life and career but its not a biopic. The parallels allow Bisset to speak to some of that past but mostly it allows her to play a magical, irresistible character, going through a number of life changes.

LOREN & ROSE is a simple, low-budget production that exists largely as a showcase for Bisset but it certainly does deliver on that goal. Bisset is very much a winning acting force here, going through a range of emotions as the story about a friendship between star and director shifts in each single-course meal – appetizer, main course and dessert – vignettes to the next.

The plot is thin but it is a joy to watch Bisset work, and hopefully this film will lead to more chances to see her work. If there is one of these great stars of the past featured in recent film who deserves a second chance and a new chapter to their career, it is Jacqueline Bisset. Fingers crossed that we’ll see her again before long.

LOREN & ROSE is available streaming starting Tuesday, Jan. 28, on Amazon Prime.

RATING: 2.5 out of 4 stars

CLOUDS OF SILS MARIA – The Review

The “metacinema” is a small but ever-present category of films that span all genres, typically are of a smaller, art house or independent scale of production and typically are also hit or miss. Metacinema, for the sake of this review, is loosely defined as a film presented as a story about its own production. These films, albeit possible, are usually not documentary, but are presented in a way that can seem based in non-fiction. For this reason, some viewers find them confusing or distracting. Some of these films are rather pretentious, while others are quite groundbreaking.

CLOUDS OF SILS MARIA falls somewhere safely between pretentious and groundbreaking on the scale of successful metacinema filmmaking. Truth be told, this is not actually a true example of metacinema, as its not a film about its own production. However, it is a film about an actress preparing for a major role in a play and the insecurities she has in connection with the play, her career and her stage in life.

Juliette Binoche plays Maria Enders, a popular but aging actress who must face an uncomfortable reflection of herself when she reluctantly agrees to taking part in a revival of the play that kick started her career 20 years prior. In the revival, however, she plays an older character, while a much younger rising actress named Jo-Ann Ellis (played by Chloe Grace Moretz) takes on the role Maria played 20 years ago. Struggling to connect with her current role and still emotionally attached to her original role, Maria must face the young actress and herself and embrace her place in time.

CLOUDS OF SILS MARIA is set within the Swiss Alps as she and Valentine, her personal assistant, travel by train to attend a tribute to the playwright and director that gave Maria her break, only to have tragedy strike and alter their plans. Having made the journey into the mountains, Maria and Valentine decide to make the most of it and prepare for her role. What ensues is a rather surreal, often uncomfortable blending and blurring of reality and rehearsed performance that juxtaposes the two throughout the two women’s time in the mountains.

Valentine, played by Kristen Stewart, provides a sort of balancing reality check for Maria, who is far too caught up in her own drama to focus herself on the role. Maria needs Valentine, not only to organize and plan her daily life, but also to challenge and force her to delve into her role, no matter how it makes her feel. Stewart gives a surprisingly deft and articulate performance, carrying much of the philosophical workload for the film. Stewart trademark persona is still present, but it takes a backseat to the script’s strengths and to her veteran co-star who outshines her, despite Stewart’s commendable portrayal.

CLOUDS OF SILS MARIA is written and directed by Oliver Assayas. As is typical of his past work, Assayas still proves to be a writer filling the role of a filmmaker, delivering though-provoking stories with strong characters. Aside from the most obvious dilemma of dealing with one’s own aging and sense of losing relevance, some other smaller but related themes pop up as well. There is a thread of generational and cultural gaps that runs through the film, represented by Maria and Valentine. One of my favorite scenes occurs when the two are having drinks together and discuss a new big budget superhero science-fiction blockbuster in the works and their difference of opinions on the topic. Valentine thoughtfully supports and defends the underlying nature of the genre and its themes while Maria can only laugh and mock the over-the-top, often cheesy superficial appearance of the genre, which she clearly discredits.

Continuing this string of underlying subsurface themes, Maria gradually proves herself to be the quintessential self-indulgent elitist, the type who is concerns with herself and her own life before all else. Manners and compassion for other matter only when convenient for her, but these less desirable traits are subtle and not forthright enough to make her a villain, only occasionally uneasy to like. On the other hand, there are moments when the generational and cultural gap present themselves in reality as well as fiction. For example, when Maria and Valentine take a dip in a lake amongst the mountains, its the aging, not as fit as she once was Binoche that strips down to her full birthday suit, whereas the younger and still more conventionally desirable Stewart who chooses to swim in her panties and bra. This is not to say she should have stripped down as well, but what does this say about the generational and cultural difference in how we see ourselves? I do not believe this was a choice by the character, but rather by the actors.

CLOUDS OF SILS MARIA ultimately proves to be an interesting, if somewhat uneven character study that occasionally gets lost within itself. Accompanied by a score that is curiously engaging and eclectic and some immensely beautiful scenic landscapes, the film is certainly not a disappointment, but also does not quite live up to its own potential.

Overall Rating: 3.5 out of 5 stars

Fantastic Fest Announces 2012 AMD Next Wave Filmmaker Spotlight

Fantastic Fest recently announced the lineup of 8 films from 7 different countries being showcased in the 2012 AMD Next Wave competition. This annual sidebar of Fantastic Fest recognizes outstanding new talent in genre filmmaking. Many of these films being shown at Fantastic Fest will mark their U.S. or World premieres. The winning filmmaker will be awarded $1,000 cash prize and AMD based computer hardware featuring their latest Accelerated Processing Unit (APU). Continue reading Fantastic Fest Announces 2012 AMD Next Wave Filmmaker Spotlight

NYCC 2011: Brian O’Halloran Interview

On Saturday I had the pleasure of interviewing actor Brian O’Halloran. He is best known for playing the character of Dante in Kevin Smith’s CLERKS & CLERKS 2. He also recently appeared in BRUTAL MASSACRE and the upcoming CALENDAR GIRL. He was at the New York Comic Con this weekend signing autographs and agreed to an impromptu interview. We talked about the convention, theater, horror films and more. He even offered some great advice for indie filmmakers. After he interview, I ended up hanging around the booth another 15 minutes talking with him and some other fans who stopped by. Check out the full interview below!

Jerry Cavallaro – www.JerryCavallaro.com

Director Stanley Nelson in St. Louis for “FREEDOM RIDERS” Event

Award-winning filmmaker Stanley Nelson will be the featured speaker on Tuesday, April 26, during a program on his latest documentary, “Freedom Riders,” from 2 to 4 p.m. in the theater at St. Louis Community College at Meramec, 11333 Big Bend in Kirkwood.

Jim Kirchherr of KETC-TV (Ch. 9), the St. Louis PBS affiliate, will moderate the event. Following short clips of the film, Nelson will answer questions from the audience. The documentary airs on PBS from 7 to 9 p.m. on Monday, May 16 as part of the “American Experience” history series.

Based on Raymond Arsenault’s book, “Freedom Riders: 1961 and the Struggle for Racial Justice,” Nelson’s documentary is the first feature-length film about a band of nearly 400 civil rights activities – black and white, young and old, male and female, Northern and Southern – who risked their lives by deliberately violating Jim Crow laws and traveling together on buses as they journeyed through the Deep South. Greeted by mob violence and bitter racism along the way, many endured savage beatings and even imprisonment. They called themselves the Freedom Riders, and they managed to bring the president and the entire American public face-to-face with the challenge of correcting civil rights inequities that plagued the nation.

Best known for his films focusing on African-American experiences, Nelson received the Contemporary Cinema Award from the St. Louis International Film Festival last November. The award honors filmmakers in mid-career for their challenging and innovative work. “Freedom Riders” was selected as one of the top five documentaries shown at the festival by the St. Louis Film Critics Association.

Nelson has had five films in competition at the Sundance Film Festival during the past 10 years, including “Freedom Riders.” He has won dozens of industry awards, including the Emmy and the Peabody. “A Place of Our Own” is another of his acclaimed works.

The event is free and open to the public. However, seating is limited. To reserve a seat, call 314-984-7167. For more information, visit pbs.org/freedomriders.