FROM SWEDEN : AUTUMN SONATA

OK, as I said, the festival gives one the chance not only to ogle at new productions but catch up on classics one may have missed in ones past. Now as you know, I am studying for a new career as a post-grad student in film studies and there is nothing more ample in my past that “missed classics”. The entire works of Ingmar Bergman, I am ashamed to say, feature prominently in this category. Thus, right at the beginning of the festival, I decided to set this right and took myself to Autumn Sonata by Bergman, among other classics you will find here this week. I usually like all art Scandinavian (a trait that gets me deemed “mad” by many friends and acquaintances) so I wasn’t nervous, merely curious. Bergman didn’t disappoint me. Turned out to be the little Scandinavian gem I always suspected it would be. I am on the hunt for the rest of his filmography as we speak.
So, what’s the story? Eva is the seemingly content wife of a vicar in a remote parish out on the Norwegian fiords. After hearing of the death of her mother’s “friend” (you can guess the reason for the inverted commas, right? Good.) she invites her mother (a celebrated concert pianist by the way) to stay with her and her husband for a couple of days. The mother and daughter will see each other for the first time in seven years, so there is much excitement on both sides. First there seems to be much rejoicing on both sides as caresses and questions are exchanged but before the first night is up the truth behind the veneer begins to raise its ugly head. There truly is nothing as complicated as “family ties”.
I don’t want to give too much of the “issues” (let’s go American) between the mother and daughter, simply because their slow unfurling is the backbone of the film. And I do not want to send you to a backboneless film – like a jellyfish, ugh… Anyway, so I will talk about the emotions the film left me with, or rather the impressions. Now, you may or indeed may not know that Scandinavian countries have a long (read ancient) custom of “story telling”. It survives today – if only barely – I was lucky enough to meet a Norwegian guy who was kinda training himself to become one a couple of years back but that’s a different story. Anyhow, the point is, this tradition makes a lot of their works of art like theatre (thing Ibsen’s plays for example) and film based heavily on dialogue. Take this film. I mean, there are “actions”, re-enactments and the conversation is broken from time to time, but the main part, the heart of the film is Eva and Charlotte’s (the mother) argument that goes on throughout the night and during which we see very little except the two speakers. The conversation takes place at night as I said so it makes the whole affair “dark” in more senses than one. And the content, well, it just gets heavier and heavier as it goes along. Plus it’s in Swedish in case, like my own beloved mother, you are “sensitive” about that. The whole thing is very tricky style to master and pull off that is unless your name is Ingmar Bergman. But even if you get it just right (which Bergman does, being Bergman) it’s definitely not for everyone. You will leave the film either feeling as if you’ve been hit by a freight train (as I did) or refreshed, because you fell asleep halfway (as did quite a few people in the theatre with me. Well, it was an evening séance) But I would take the gamble if I were you…

TRUE STORY OF THE WEEK : "LA MÔME"

Now correct me if I’m wrong, but I’m pretty sure you remember “La Môme” – also known as “La Vie En Rose”. Oh come on, sure you do, it “made” Marion Cotillard. In 2007 It basically wiped the floor with everything it faced at every award ceremony from BAFTAs to Ocars®. The other actresses, admirable as I am sure they were, didn’t stand a chance! But dear God, what a movie that was…
It is, as you know or probably have guessed, the life story of Edith Piaf. Born into a poor family, her father was a circus performer and she had to keep the both of them (plus her father’s drinking habit) afloat with renditions of the Marseillaise on street corners. She was discovered under rather similar circumstances some few years later. One day as she sang various cabaret songs on another street corner with her good friend Mômone, she is discovered by Papa Leplée, a cabaret owner (played by the French films staple Gerard Depardieu). Luck combined with Piaf’s amazing talent and hard work made her the star she is today. Her life story was successful but not always happy. It was marred with sadness, death and drugs, to the point that at 40 she almost looked 70. But at the end of the day, that life was so full, we can almost hear her claiming loudly “Je ne regrette rien” – I regret nothing right to the end.
After the first two films I reviewed this week I desperately hunted around for something a bit happier, but unfortunately to no avail. That is not to say this is an entirely “sad” movie. I mean true enough, there is a lot of sadness in the film, but such is life. All through the film we have the beautiful music and Piaf’s undaunted spirit leading the way. The film definitely captures the essence of Piaf and as for Marion Cotillard, she deserves her place in history for her performance. And something has to be said for the make-up, décor and costumes, all won numerous prestigious awards that year. You are transported right to the ‘40s . And Cotillard looks so much like Piaf it’s almost spooky.
Both Cotillard and the film – and in fact Piaf as well at the time – just tells it like it is. Gives it to you straight. And the story is told with such quality that you will clap your hands and bounce around as the rollercoaster goes up and reach for handfuls of tissues as it goes down. This is a seriously “good” quality film. And if you’re any sort of “cinephile” you will put it on your “to watch” list, right now.