Bea says: Helsinki looked bleak, grey and made of concrete. Cafes and bars looked functional, rather than comfortable. Everyone was taciturn, and the plot - a "loser" whose life spirals quickly downward after a misguided liaison with a conwoman - not at all cheery. Except that next to me were two Finns who found the whole thing hilarious. Somewhat nonplussed, I listened to them laugh at the misfortunes of this sorry character. And it kind of rubbed off, and I found myself chuckling as our unfortunate hero is rejected by women, ignored by society, beaten up and imprisoned, and winds up living in a shelter, washing dishes for a living and sitting in bars listening to the depressing lyrics of Finnish tango (yes, that's right, Finnish tango - the Argentinian kind but with Finnish lyrics). I really enjoyed this film. The lead is perhaps just a little too good-looking to be truly a loser, but it works.
****
Cecil says: I saw my first Kaurismaki film 12 years ago in Brussels - I was taken by a Finnish colleague and the cinema was full of Finns falling about in the aisles as they watched an equally dismal plot develop ("Drifting Clouds"). So, I was ready for the style of film. What struck me was the total silence in the NFT (I didn't hear Bea's laughing Finns or even Bea's own chuckles) and all I could think was: there aren't many Finns among us tonight...
As I say, having seen the previous Kaurismaki film, I found it easier to relax and begin to see through the apparent hopelessness of the main character's life. There is something wonderful about the male characters in this film - a rough lot to say the least, but something strangely fascinating, even about the three buffoons in the bar who beat up our poor hero (my Finnish is pretty rubbish, but even I could see that they are just given the title 'gorillas' in the credits) - but why does everyone in the film smoke (is this some subliminal message from Kaurismaki or is it a true reflection of Helsinki working life?). There are only two female characters: one is the woman who cons the main man into falling for her (and who is then seen simply vacuuming while the male gangsters play cards); the other is the grilled sausage seller who is always there to listen, to help and to support. At the end, it is their holding hands which leaves us with a message of hope in spite of all that society can throw at us. Now, when is the next Kaurismaki coming out...
***
Wednesday, 26 March 2008
Monday, 24 March 2008
Lift to the Scaffold (Ascenseur pour l'echafaud)
Cecil says: Part of the film noir series at the NFT, this 1958 classic with Jeanne Moreau is full of passion, romance, intrigue and a double murder...But actually, what's fascinating seeing this film 50 years on is to look at some of the context of the film: we are close enough to the Second World War for the German 'tourists' to order lots of champagne and then say jokingly how fortunate 'we' didn't drink all of the stuff during the occupation; the main male lead had fought in Indo-China and had subsequently spent time in Algeria (and of course the film is made right in between these two milestones in French history); and we are led to believe that Mr Carala, the all-powerful businessman, had made his fortune either in armaments or oil linked to both Vietnam and Algeria.
But Jeanne Moreau is the star. Apparently her first big film (having already made it big on the stage), she oozes sensuality throughout - in fact, all the female actors have something of the alluring, pouting femme fatale about them: were all French women like that or is it the image the big screen liked to use to portray them, or just a quirk of the director Louis Malle, who was only 24 when he made this film? And how on earth did Moreau get across the busy Champs Elysees without looking at the traffic once (or is that in fact the best way to get across roads in France?)
Wonderful camera work and use of light. And silence is so powerful, with no soundtrack for long periods, especially when our main man is trying to get himself out of the lift that got stuck - you could almost hear his brain clicking over, as he looks for some options for getting out of his predicament.
Of course France is (or was?) the country of the 'crime of passion' (when did they drop that law?) - why, an English audience might ask, does the murderer only get 10 years (and out in 5) whereas his accomplice would get 20?? This is certainly a very French film, but one note of connection to British cinema - the young couple who get so involved in the story are so reminiscent of Pinky and the young waitress in Brighton Rock and this film was made 11 years after Brighton Rock, so was a young Louis Malle actually influenced by Graham Greene?
****
Bea says: A strong storyline (with plot and subplots to maintain interest) and beautiful cinematography - they don't make them like this anymore. Moreau walks the streets of Paris at night, lit only by streetlighting and isn't afraid to look tired and wan. Producers, directors and actors of today, take note - there are many different kinds of beauty. Cecil has said enough - I loved the costuming (Veronique's outfit would look modern today), and the showcasing of all the 1950s inventions - a kind of early product placement (luxurious new cars, electric pencil sharpeners, miniature cameras and express developing of film, motels!).
***1/2
But Jeanne Moreau is the star. Apparently her first big film (having already made it big on the stage), she oozes sensuality throughout - in fact, all the female actors have something of the alluring, pouting femme fatale about them: were all French women like that or is it the image the big screen liked to use to portray them, or just a quirk of the director Louis Malle, who was only 24 when he made this film? And how on earth did Moreau get across the busy Champs Elysees without looking at the traffic once (or is that in fact the best way to get across roads in France?)
Wonderful camera work and use of light. And silence is so powerful, with no soundtrack for long periods, especially when our main man is trying to get himself out of the lift that got stuck - you could almost hear his brain clicking over, as he looks for some options for getting out of his predicament.
Of course France is (or was?) the country of the 'crime of passion' (when did they drop that law?) - why, an English audience might ask, does the murderer only get 10 years (and out in 5) whereas his accomplice would get 20?? This is certainly a very French film, but one note of connection to British cinema - the young couple who get so involved in the story are so reminiscent of Pinky and the young waitress in Brighton Rock and this film was made 11 years after Brighton Rock, so was a young Louis Malle actually influenced by Graham Greene?
****
Bea says: A strong storyline (with plot and subplots to maintain interest) and beautiful cinematography - they don't make them like this anymore. Moreau walks the streets of Paris at night, lit only by streetlighting and isn't afraid to look tired and wan. Producers, directors and actors of today, take note - there are many different kinds of beauty. Cecil has said enough - I loved the costuming (Veronique's outfit would look modern today), and the showcasing of all the 1950s inventions - a kind of early product placement (luxurious new cars, electric pencil sharpeners, miniature cameras and express developing of film, motels!).
***1/2
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