American Cinema

A few of my favorite American films from the last few years:  

Chéri is based on the 1920 book of the same name written by Colette. Michelle Pfeiffer plays the glamorous retired courtesan who is encouraged to teach Chéri, an idle young socialite, some lessons in love. A tale of mismatched lovers in decadent Paris of la belle époque. 

The September Issue was a disappointing documentary except for a few moments: what the daughter of Anna Wintour had to say about fashion (the English would say…brilliant), the wonderfully talented—and more—creative director, Grace Coddington (she stole the lead for my money) and the regal and incomparable Andre Leon Talley who provides comic relief and does indeed need to shed a few pounds. What bothered me about this film, which was about the making of Vogue’s September 2007 issue, is seeing a lot of hysteria, people collaborating without having much fun, acting and spending without directions, fearing what the boss’s reaction will be. As for the boss, she doesn’t seem to enjoy herself at all whether in her office or in meetings, where her icy face seems to say I’d rather not be here. Even while visiting designers and being in Paris, we sense some detachment or boredom—or is it some hidden insecurity and lack of self esteem (a psychologist might have fun analyzing such behavior)—and the few smiles are forced, to say the least. Throughout the film, she looks exasperated, impatient, icy towards her staff and guests.  When at the end she declares she gets angry more and more as years go by, one wants to scream, it’s time to fold, Madame. What is a wonder is the so-called power or control she seems to have. Widely overstated. Excellence is great, perfectionism boring.  Ever wonder if any of the 13 million Vogue readers would care a fig if the pages added at the last moment had not been there and if the romantic Grace had had her way? Frankly, any efficient leader would feel 95% is great and far better than the average 70-80%, but to go to 97% is too costly, time consuming and frankly often de-motivating and exhausting to the rest of the staff (not to mention the pressure of wasted overtime), and probably not recognized by most of the readers, especially for something as fleeting as a monthly magazine. I wonder what young girls seeing this film will think about working for a fashion magazine. As for the power of fashion? I miss it completely. The artistry, craft, labor, beauty, feel mostly seen through Grace’s eyes, photographers and designers, as well as some beautiful shots of the City of Light and the Eternal City, save it from boredom.  

Partir is a kind of modern Madame Bovary, intense drama about love, infidelity and betrayal…with the elegant Kristin Scott Thomas showing yet another side of her talent as a beautiful wife of a doctor with two kids and two homes. The flashback shot at the start gives us a hint of things to come. She’s bored to death with her life devoid of surprise and with her husband’s help decides to go back to work (she was a chiropractor). She falls madly in love with the Spanish worker who works at the house and here goes new job, new man, new life. To go means to leave it all, husband, children and all the comfort of her life, and build anew. The sensuality and humanity of her relationship with the Spanish lover is the high point and shows the happiness but also the misery and destruction and the inevitable ending.  

Memory of love is another version of Partir’s themes of love, infidelity and betrayal, with a different ending, taking a risk to show a different approach with a happy ending—hardly credible but worth showing that choices exist. Same class of people as in Partir ,though a younger generation (this time the bored young wife married to a surgeon falls madly in love with her tango teacher) and an additional twist of amnesia and a more in-depth approach to true love, though the second part of the film is weak. The big problem of the 21st century: a lack of confidence in true love and deep spiritual values. Wang Chao is a risk taker but doesn’t quite pull it together, though I’d still highly recommend seeing this film.

The Curious Case of Benjamin Button may have been a tad too long, but what a love story! Cate Blanchett is as stunning as ever and Brad Pitt ain’t bad either, especially as he gets younger!

I loved Rachel Getting Married, where Anne Hathaway confirmed her great talent not seen since The Devil Wears Prada.

Vicky Cristina Barcelona--Penelope Cruz is simply intoxicating, and I can’t imagine what the film would have been without her presence.

The film The Visitor tells the story of a young Syrian musician in love with a young Senegal artist who lives illegally in NYC’s East Village. He foolishly gets caught in the subway, is sent to a prison in Queens, faces bureaucracy and eventually is deported back to Syria. The especially touching characters are the supporting ones, including his mother who leaves her Michigan home to come to the rescue, and the Connecticut professor who lets them use his NY pied à terre and falls in love…with playing the drum. I definitely recommend seeing it.

I wanted to like Priceless because its star, Audrey Tautou, is so very French, but I’ve decided that maybe she should stick to “Amelie” types of roles. I was appalled that in her latest film, she characterizes all that I detest in actresses—namely, taking a part that reduces them to negative stereotypes: the non-stop smoker, drinker, perpetual shopper (dripping in only designer clothes, handbags, etc., ad nauseam), brainless and superficial. But the movie is a comedy and the ending saves it. One pleasantly redeeming thing you can expect to discover is the young, handsome, and talented Gal Elmaleh, who is a comedian the French have been enjoying tremendously these days.

Flight of the Red Balloon is worth seeing for its beauty and intensity of observation (through the eyes of director Hou Hsia). I must admit, however, that it was bit disappointing. I felt this way in spite of the fact that one of my favorite actresses, Juliette Binoche, plays the lead role--and does so masterfully. What’s truly disappointing is the child’s part, which is totally lacking the depth and whimsy offered by the character in the original version of this movie. But overall this film is a departure from traditional storytelling, and in that sense needs to be applauded.

Then She Found Me is warm, hilarious, engaging and entertaining. Bravo to Helen Hunt for directing and acting in this serious romantic comedy. The topic is highly trendy (a childless mother obsessed with her ticking biological clock) and the acting team (Bette Midler, Matthew Broderick and Colin Firth) participates to the many-sidedness of need.

I’m not a great fan of thrillers, but after having discovered the stunning Scottish actress Tilda Swinton, who won an Oscar for her part in Michael Clayton, I could not resist seeing her in Julia. She plays the part of an alcoholic who kidnaps a child and keeps us halting for almost 3 hours. Great ending, too.

And then there's Marion Cotillard in La Vie en Rose. Isn’t she the quintessential French woman?  If you haven't had the pleasure of seeing this movie already, I highly suggest you rent it.  The soundtrack is fantastic as well. 

I also adored Ellen Page in Juno. I find her smart, funny, and very beautiful with her feet on the ground. My kind of girl.

The Savages, staring Laura Linney and Philip Seyour Hoffman, is for those who may enjoy a bit of baby-boomer black humor, but it left me with bittersweet pleasure. The acting depicts the details of family dynamics at their worst, but the ending gives one hope to dream that the siblings may have learned a thing or two so they may have a better future.

Atonement is an irresistible film with great performances, evocative settings and the beautiful Keira Knightley wearing the most gorgeous green dress.

A splendid film that won all sorts of recognition is Bella, a romantic drama filled with sensual moments and deep feelings—demonstrating that true love goes well beyond romance. One of the best films I’ve seen in recent years. Exquisite acting.