Showing posts with label Audrey Tautou. Show all posts
Showing posts with label Audrey Tautou. Show all posts

Wednesday, February 23, 2011

My favorite things: An effort at an all-time Top 10 list

By Derrick Bang • Originally published in The Davis Enterprise, 2.23.11

People often ask if I have a favorite film.

That's easy; the answer hasn't changed since I was 8 years old, closing in on half a century ago.

Taking it further ... can be difficult.

My Enterprise colleagues, seeking cinema-themed content to help build excitement for this Sunday's Academy Awards celebration, dug into the files and realized that I've never gone on record with a list of all-time Top 10 favorite films. This is true, and with good reason: It's not a stationery target. I see between 150 and 200 films every year, and I've not yet lost my ability to be dazzled; simple logic demands that new "favorites" will replace older ones.

My wife and I have a similar problem at home, with our ever-expanding library of books. We've done pretty well over the years, in terms of constructing new shelves in out-of-the-way corners or just below ceiling height. But we've hit saturation, which demanded a new house rule: If a book comes in, a book must go out. In other words, the total number  whatever that is, and we've never had the nerve to count 'em  no longer changes.

So it is with the nebulous concept of an all-time personal Top 10 movie list. I could supply an answer today, which won't be the answer you'd have gotten 10 years ago, and likely won't be the answer I'd give next month. Times change. Taste changes. People change. I change.

It's also true, however, that each of us tends to be most transfixed by movies, books, songs and TV shows that we see between the ages of, oh, 10 and 22. Many of those early experiences remain fixed forever, sometimes beyond all reason; more than once, I've been embarrassed during a recent visit to something not seen or read for decades, which I remember being much better the first time. In some cases, you really can't go home again.

Attempting to explain all this to my Enterprise colleagues garnered no sympathy; they believe this is a good story idea  and it is, no question  and couldn't care less about my reluctance. An assignment is an assignment. Besides, they insisted, I'm waffling. Surely I can rattle off a personal Top 10.

Well ... no.

At least, not without cheating.

First, let's establish some ground rules. I'm discussing my favorite films, not those I consider the medium's best. The difference is significant: Favorite films are those we choose, repeatedly, to experience the reassuring embrace of an old friend. Big-screen comfort food. Movies which, for each of us, stand the test of time and bear multiple viewings. (In my case, often, lots of multiple viewings.) As a result, my favorites rarely correspond to the films usually cited by pundits as Hollywood's finest, such as Citizen Kane, High Noon, Gone with the Wind, West Side Story, The Godfather and many others.

My taste often is more, ah, eclectic.

Thursday, November 5, 2009

Coco Before Chanel: Dress rehearsal

Coco Before Chanel (2009) • View trailer for Coco Before Chanel
3.5 stars (out of five). Rating: PG-13, for sensuality
By Derrick Bang • Originally published in The Davis Enterprise, 11.5.09
Buy DVD: Coco Before Chanel• Buy Blu-Ray: Coco Before Chanel [Blu-ray]


Modern women vexed by the gender divide should make a point to see Coco Before Chanel, just to be reminded how much worse life was a single century ago.

This autumn season has brought us biographical studies of two extremely impressive women — Amelia Earhart and Gabrielle "Coco" Chanel  in flawed films that nonetheless boast strong work from their respective lead actresses.
Having insisted on accompanying her lover and his condescending, aristocratic
friends to the racetrack, Gabrielle (Audrey Tautou, center) is delighted to bump
into her sister, Adrienne (Marie Gillain, right), who is beginning to realize
that her lover probably never will marry her.

The results, in both cases, are frustrating: Just as Hilary Swank's resolute and chameleon-like performance as Earhart couldn't rise above that film's flat execution, Audrey Tautou's equally persuasive interpretation of Chanel can't disguise director Anne Fontaine's leaden pacing in Coco before Chanel.

This film is so slow, that at times it appears to stop.

That's ridiculous, given real-life events that read like something out of Charles Dickens. Not even David Copperfield rose as high, given his humble origins, as the little orphan girl who grew up to become the very emblem of 20th century womanhood.

I don't believe the screenplay is at fault, although Fontaine and collaborator Camille Fontaine (no relation, believe it or not) should have encouraged co-scripter Christopher Hampton to insert more of the snarky tone he brought to his adaptation of Dangerous Liaisons.

No, the problem is dull, listless direction: boring camera angles, tedious two-shots and a sloppy approach toward structure. Anne Fontaine simply doesn't present this story with any degree of passion ... which is pretty ironic, considering the passionate nature of Chanel herself.

Things begin with a brief prologue in the late 19th century, as a stoic man in a horse-drawn carriage abandons his two young daughters at a convent orphanage. His wife having died, he has no reason to keep the girls around. Despite the coldness of this act, young Gabrielle waits in vain every Sunday, hoping for a visit from the father who dumped her.

When next we see Gabrielle (now played by Tautou) and her sister, Adrienne (Marie Gillain), they've matured into young women who work as seamstresses in a tailor's shop by day, and by night sing mildly saucy little ditties in the crowded, smoke-filled confines of local cafés. (The miraculous fact that these two sisters have been able to stay together passes without comment.)

One of these songs, "Coco," gives Gabrielle the nickname that would follow her through life.