Gemma Bovery (2014)

You could make a case — and I wouldn’t be entirely unreceptive to your viewpoint — that this film is a regressive form of faux-naïf haute bourgeoise naffery. I’m pretty sure New Waves have formed in opposition to less provocation, and even if it isn’t quite the desultory cinéma de papa of the past (it has a female writer and director, for a start), it’s hardly challenging in the laidback literary allusions of the screenplay and its bucolic country town setting. There’s also a self-aware subtext revolving around the fitting of literary archetypes to (overtly constructed) characters that reminds me of another French film starring Fabrice Luchini, Dans la maison directed by François Ozon — though that film was more aggressive in pushing its meta-narrative, so if forced I’d generally prefer Anne Fontaine’s filmmaking to that of Ozon.

But already I feel I’m pushing back too strongly against a film which, broadly, I rather enjoyed. If it has that self-aware constructedness that may perhaps be traced to the involvement on the screenplay of former film critic (and Jacques Rivette collaborator) Pascal Bonitzer, it could also be said to critique a masculinist construction of feminine identity by having our central character Martin (Luchini) — and despite the film’s title, his is the point of view around which the film revolves — carefully watch and steer the narrative path of Gemma Arterton’s title character. Arterton is a fine actor who does great work with what is ultimately a purposely thin character, existing in that sort of Daisy Buchanan mould as an object of male lust and projected fantasies of femininity. That said, I wouldn’t go so far as to call it particularly challenging: Gemma is still largely a pawn to the (male-centred) narrative, and some of the comedy at the expense of Anglo-French relations can get a little strained (although there’s a very amusing smaller role for Elsa Zylberstein as a status-obsessed socialite). But as a testament to Arterton and Luchini’s excellent and subtle acting skills, Gemma Bovery does provide a pleasant divertissement.


© Gaumont

NEW RELEASE FILM REVIEW
Director Anne Fontaine | Writers Pascal Bonitzer and Anne Fontaine (based on the graphic novel by Posy Simmonds) | Cinematographer Christophe Beaucarne | Starring Gemma Arterton, Fabrice Luchini, Jason Flemyng | Length 99 minutes || Seen at Cineworld West India Quay, London, Wednesday 26 August 2015

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Dans la maison (In the House, 2012)


NEW RELEASE FILM REVIEW: French Film Week || Director/Writer François Ozon (based on the play The Boy in the Last Row by Juan Mayorga) | Cinematographer Jérôme Alméras | Starring Fabrice Luchini, Kristin Scott Thomas, Ernst Umhauer | Length 105 minutes | Seen at Cineworld Shaftesbury Avenue, London, Tuesday 2 April 2013 || My Rating 3 stars good


© Mars Distribution

François Ozon has always been a safe middle-class director of safe middle-class fantasies, which is the opening for an excoriating review whereby I dismiss all his work out of hand as being unworthy of your time, this film no less than any other. Or at least that’s one version of this review, an exceedingly unkind and somewhat unfair one at that. Certainly, it wasn’t a million miles from my impression of the first film of his I saw, Sitcom (1998), which busied itself with a then-fashionable media satire using as its milieu a middle-class French suburban family. I do think Ozon, and Dans la maison, has more to offer though, while still retaining some of his familiar themes.

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