For the TV series the choice for the top 10 was a much harder one. There was so many excellent series, mostly from the U.K., that it made the selection difficult. I really think that I should watch less TV, but with such a huge choice of titles it is impossible to resist:
This blog was hit by a couple of catastrophes in 2017 that broke many image links and introduced malicious lines of code that have now been neutralized but are still disfiguring many older entries of the blog.
Please bear with us while we are undergoing the long process of repairing the blog! The most important part of this blog is still there — the words to read and the ideas to share — but the aesthetic of the presentation has unfortunately suffered.
Thank you for your understanding and support!
— clodjee
After reading my bio/bibliography in the DALIAF, it reminded me that I published more than just fiction (or a few sci-fi short stories). So I decided to gather my own bibliography, a list as exhaustive as I could of all the major texts I’ve written. Here it is, right after the jump: Continue reading →
The Girlfriend Experience is definitely not an entertaining movie — which is surprising considering that Steven Soderbergh is an experienced director (who gave us such movies as Sex, Lies, and Videotape (1989), Kafka (’91), Erin Brockovich (2000), Traffic (2000), Ocean’s Eleven (2001), Solaris (2002), and Che (2008)). However, it is certainly an interesting movie and reminds me more of the rather experimental productions from his early career. The movie is shot in video and edited in short sequences that tell the story in a non-linear way. As new characters are introduced you keep asking “ok, who’s that guy?”, and “when is this hapenning? Before or after this other sequence?” So it is very confusing and you cannot really enjoy the movie as you would normally do. Fortunately, the subject was interesting enough to keep me trying to make sense of it.
The movie tells the story of an independant, successful upscale prostitute who is able to maintain (or not) a balance between her job and her personal (romantic) relationships. The human aspects of this story is rather intriguing and would be quite an achievement if it would be original. Unfortunately, it’s not. It is suspiciously similar to a British TV series that I am quite fond of: Secret Diary of a Call Girl. Starring Billy Piper (Doctor Who), the series started in September 2007 and lasted four seasons for a total of thirty-two episodes. Itself based on the blog and books of Belle de Jour (a.k.a. Dr. Brooke Magnanti), The Intimate Adventures of a London Call Girl, the series tells the story of Belle, a successful high-class London Call Girl who has trouble balancing her job and the relationship with her boyfriend. Sounds familiar? There are really too much similarities to be a coincidence: the anecdote on how she does her accounting, the emphasis on fashion, and the fact that, in the end, whatever happens, all she can do (all she knows) is going back to “work”. Unfortunately for The Girlfriend Experience, the production quality, the acting and the incredible British humour makes of Secret Diary of a Call Girl an interesting AND very entertaining experience.
The Girlfriend Experience is definitely a below-average movie. It’s not only that I am already prejudiced against short movies (less than 100 min.), but this movie fails to deliver on too many aspects. When you put so much efforts advertising that your movie’s main actress is an ex-porn star you gotta put at least a few hot, realistic sex scenes. Instead, she delivers what seems like an unexpressive and emotionless performance. And the ad libbing of the actors creates dialogs that feel totally unnatural. And it’s not only me: according to Wikipedia the film did less at the box office (slightly above $1 M) than its production cost ($1.3 M) and received a poor rating from critics at Rotten Tomatoes (64%). The audience’s rating was even less (35%). Therefore I really cannot recommend this movie for any reason whatsoever. Unless you are masochistic, of course, or an unconditional fan of Soderbergh.
Toutefois, je ne peux m’empêcher de penser que, malgré l’importante oeuvre qu’elle a laissé derrière elle, la vie de Sagan est une vie perdue, gaspillée. Elle l’a vécut à fond, un peu à l’image de la Cécile de Bonjour Tristesse, aimant passionément tant hommes que femmes, se perdant dans des dépenses folles, l’alcool et la drogue. Comme beaucoup d’artiste bohème (Piaf par example), elle a finit sa vie pratiquement seule, ruinée et malade. Quelle tristesse…
SAGAN. France, 2008, 117 min.; Dir.: Diane Kurys; Scr.: Diane Kurys, Claire Lemaréchal, Martine Moriconi; Phot.: Michel Abramowicz; Ed.: Sylvie Gadmer; Art Dir.: Maxime Rebière; Set Decor.: Alexandra Lassen; Cost. Des.: Nathalie du Roscoat; Music: Armand Amar; Cast: Sylvie Testud (Francoise Quoirez dite Sagan), Pierre Palmade (Jacques Chazot), Jeanne Balibar (Peggy Roche), Arielle Dombasle (Astrid), Lionel Abelanski (Bernard Frank), Guillaume Gallienne (Jacques Quoirez), Denis Podalydès (Guy Schoeller), Margot Abascal (Florence Malraux), Samuel Labarthe (René Julliard). Rated PG / 14+. Site officiel: sagan-lefilm.com.
Mais je ne me suis pas arrêté là et j’ai décidé de poursuivre l’expérience “Sagan” (car j’aime découvrir les choses d’une façon thématique) avec le visionnement de l’adaptation cinématographique de Bonjour Tristesse, son oeuvre la plus connue. Le film en soi est très bon, comme peuvent l’être la plupart des films de cette époque, mais malheureuse-ment, comme je n’avais pas encore lu le roman au moment du visionnement, je ne pouvais pas le comparer au récit original. Et c’est peut être tant mieux car je préfère toujours juger un film sur ses propres mérites.
Vivant avec un père séducteur, Cécile mène un vie morne malgré qu’elle soit pleine de mondanités et de flirts. Elle serait sans doute heureuse si ce n’était du souvenir douloureux, remplis de tristesse et de remors, d’un été idyllique passé avec son père sur la Côte d’Azur et qui se termina dans le drame. Tout le préambule du film est en noir et blanc mais passe rapidement à la couleur lorsqu’un flashback nous amène dans les souvenirs de Cécile. C’est une très belle histoire, racontée avec brio et une technique visuelle d’une exceptionelle qualité. Au delà d’un bon récit, ce drame psychologique nous offre une intéressante réflection sur la moralité et la maturité. A voir absolument. Malheureusement, il semble que ce film soit assez difficile à trouver: il ne semble plus disponible qu’en usagé et la bibliothèque ne l’a qu’en format VHS. Il est toutefois disponible sur Amazon.com video on demand et le iTunes Store mais ce serait sans doute un titre mûr pour une sortie en format Blu-Ray.
Bonjour Tristesse. USA, 1958, 94 min.; Dir.: Otto Preminger; Scr.: Arthur Laurents (d’après le roman de Francoise Sagan); Phot.: George Perinal; Ed.: Helga Cranston; Art Dir.: Ray Simm; Set Decor.: Roger Furse; Cost. Des.: Hope Bryce, May Walding; Music: Georges Auric; Cast: Deborah Kerr (Anne Larson), David Niven (Raymond), Jean Seberg (Cecile), Mylène Demongeot (Elsa), Goeffrey Horne (Philippe), Juliette Gréco (herself). Rated NR (Suggéré pour 14+).
Extrait du film sur YouTube:
Après avoir vu un film aussi charmant j’étais encore plus curieux d’en lire le récit original. Chanceux que je suis, j’ai trouvé parmi les trésors de mon sous-sol une édition toute jaunie de Bonjour Tristesse (Julliard, 1957; la couverture nous précise que la réimpression a déjà atteint le 700e mille). A cette époque les romans français avaient des couvertures vraiment ennuyantes, par contre j’aime bien l’illustration de couverture de cette édition anglaise (ci-contre) qui représente bien l’esprit du livre. Celui-ci est bien sûr disponible en bibliothèques en de multiple éditions françaises.
La couverture arrière nous dit: “Un homme de quarante ans, charmant, léger, aux aventures faciles et nombreuses, et sa fille de dix-sept ans, Cécile, forment un couple inséparable de camarades. Ils vivent dans la plus grande liberté, une amoralité parfaite, une insouciance totale, jusqu’au jour où, plus dangereuse que toutes les habituelles « passantes », une femme survient… Belle, envoûtante, un peu mystérieuse, Anne, qui fut la meilleure amie de la mère de Cécile, va vouloir enchaîner l’homme volage et préserver la jeune fille d’une dépravation certaine. Devant cette menace, Cécile, avec un machiavélisme à la fois innocent et pervers, provoque la rupture, la catastrophe… Le danger est écarté, mais un nouveau visage hantera désormais l’adolescente : celui de la tristesse. Écrit par une jeune fille de dix-huit ans, ce roman, poétique et ensorcelant, révèle un talent exceptionel.”
L’ouvrage débute ainsi: “Sur ce sentiment inconnu dont l’ennui, la douceur m’obsèdent, j’hésite à apposer le nom, le beau nom grave de tristesse.” Contraitement au film, le récit original est plutôt linéaire et n’a pas de véritable flashback — quoique la narration se fait au passé. À part cela, il n’y a guère de différences: Cécile a dix-sept ans (et non dix-huit), son jeune amant se nomme plutôt Cyril (au lieu de Philippe) et leur relation est plus poussée (évidemment un film américain des années ’50 ne pouvait pas montrer de sexualité). C’est assez bien écrit (quoique je trouve que le style de Sagan manque un peu de fluidité) et se prête bien à la narration que l’on retrouve dans le film. C’est charmant et c’est court (cent-quatre-vingt-huit pages). La grande popularité de ce roman ne tient pas tant à sa qualité littéraire, qui n’a absolument rien d’exceptionelle, mais plutôt au jeune âge de l’auteur et au sujet qui, pour l’époque, était choquant. Le Vatican avait d’ailleurs condamné l’ouvrage dont les personnages ignoraient complètement la moralité, et, sans le mettre à l’index, tentait d’en dissuader la lecture “comme un poison qui doit être éloigné des lèvres de la jeunesse.” Cela n’en demeure pas moins un ouvrage important de la littérature française.
Love Story. USA, 1970, 99 min.; Dir.: Arthur Hiller; Scr.: Erich Segal; Phot.: Richard C Kratina; Ed.: Robert C Jones; Art Dir.: Robert Gundlach; Set Decor.: Philip Smith; Cost. Des.: Alice Manougian Martin, Pearl Somner; Music: Francis Lai; Prod.: David Golden, Howard G Minsky; Cast: Ali MacGraw (Jennifer), Ryan O’Neal (Oliver), John Marley (Phil), Ray Milland (Oliver Barrett III), Katherine Balfour (Mrs Barrett), Tom Lee Jones (Hank). Rated PG / 14+ (Language, love scene).
Ce film est un bon exemple du cinéma Québécois des années soixante où l’on s’efforcait encore de courtiser le public Européen. Le choix d’un acteur Européen relativement connu et le fait que les acteurs locaux parlent avec un accent “Radio-Canada” en sont la preuve. Je trouve d’ailleurs fort heureux que des classiques de notre cinéma soient disponible ainsi sur Dvd (produit par DEP, le dvd ne semble pas disponible sur leur site, ni à la boutique de l’ONF mais l’est encore chez Archambault et Renaud-Bray) ou même par l’entremise de l’initiative Éléphant de Québécor ($2.99 via Illico-sur-Demande de Videotron, en HD de surcroit!). Pour ma part, je l’ai simplement emprunté à ma bibliothèque de quartier.
Classé drame psychologique, YUL 871 est un film plutôt contemplatif où il ne se passe pas grand chose—un peu comme les films Japonais ou les films Européens de l’époque. Le héros, de passage à Montréal, doit tuer le temps et fait quelques rencontres sans véritable conséquences (il déambule dans la ville avec une fillette qui finit à l’hopital, il a une aventure avec une belle blonde qui finit par en épouser un autre et il n’établit aucun liens avec les parents qu’il recherchait depuis son enfance). Si ce film n’est pas sans mérite (après tout il a remporté le prix de la meilleure réalisation au Festival International du Film de Chicago), il est toutefois parfois maladroit dans son montage (les transitions sont souvent terrible) et la post-synchro laisse vraiment à désirer. Chose amusante, l’actrice principale (Andrée Lachapelle) n’est même pas mentioné sur la couverture du Dvd alors que Jacques Desrosiers (qui ne fait qu’une brève apparition sans dialogue) lui l’est. Somme toute, c’est un beau film mais qui est un peu ennuyant. Toutefois la chance de voir Montréal telle qu’elle était dans les année soixante rends le visionnement de YUL 871 beaucoup plus intéressant.
Je dois cependant avouer que j’avais une intention bien précise quand j’ai emprunté ce film: mon père a participé au tournage en tant que technicien du son (le site internet de l’ONF mentionne soixante-dix films auxquels il a participé) et ma soeur ainée, Johanne, y a également un bref caméo auprès de Charles Denner.
Mon père à l’ONF, Ottawa, cir. 1950
Ma soeur Johanne avec Charles DennerYUL 871. Canada, 1966, B&W, 71 min.; Dir.: Jacques Godbout; Scr.: Jacques Godbout (dialogues par Jacques Languirand); Phot.: Georges Dufaux, Gilles Gascon; Ed.: Victor Jobin; Prod. Des.: Frédéric Back; Cost. Des.: Dinardo, Licha; Music: François Dompierre, Stéphane Venne; Sound: Claude Pelletier; Prod.: André Belleau; Cast: Charles Denner (Jean), Andrée Lachapelle (Marguerite), Paul Buissonneau (Antonio), Francine Landry (Fillette), Jean Duceppe. Rated G.
A few weeks ago my wife bought a cd containing the instrumental version of The Bee Gees’ song “Melody Fair” and it reminded her of this movie—which she first saw in Japan a long time ago. She felt like seeing it again, document.write(“”); so I tried to locate the movie. It is never easy to find a movie that is more than thirty year-old, but fortunately such research are now made easier with the internet. The movie got only a lukewarm reception when it was released in English-speaking countries, which explains why it was never released on Dvd in North America—but it is still possible to find it on vhs (used copies available on amazon.com). However, there was a dvd release in Japan since the movie was a huge success there (the 2004 release is now sold out, but used copies are still available on amazon.co.jp). The Japanese title was “chiisana koi no merodi” or Small Love Melody.
Set in the early seventies working class London, this slice-of-life and romantic fantasy tells the story of Daniel, a shy young junior high school boy. After befriending Ornshaw, he becomes part of the school’s group of little troublemakers. Soon he also meets Melody and both fall in “love” (as any eleven years-old kid could). They tell their parents that they want to get married—now! For them, it only means “to be together”. In face of the adults incomprehension, they elope and organize a mock wedding with the help of their friends. When the adults come to interrupt the “ceremony” they meet an unexpected resistance and all ends in chaos.
It is a cute movie that reminds me a lot of Francois Truffaut’s L’argent de Poche (“Small Change”, 1976)—maybe Truffaut inspired himself from Melody or maybe it’s because both movies are told from the children point of view. And of course, it is impossible to watch this movie without thinking of Oliver, as both Daniel’s and Ornshaw’s actors played major parts in this famous 1968 movie. However, what I find the most interesting about Melody is that it is expressing well the era’s sentiment of rebellion against the establishment. It is obvious in the fact that, through the entire movie, O’Leary is trying to perfect his bomb-making (no doubt that it refers to the Provisional IRA campaign of violence that started in 1969) and in the final scene where the children literaly attack the adults (and bomb a car)!
Melody. UK, 1971, 103 min.; Dir.: Waris Hussein; Scr.: Alan Parker; Phot.: Peter Suschitzky; Ed.: John Victor-Smith; Art Dir.: Roy Stannard; Cost.: Diane Jones; Music: Richard Hewson, The Bee Gees; Prod.: David Hemmings, David Puttnam; Cast: Mark Lester (Daniel), Tracy Hyde (Melody), Jack Wild (Ornshaw), Colin Barrie (Chambers), Billy Franks (Burgess), Ashley Knight (Stacey), Craig Marriott (Dadds), William Vanderpuye (O’Leary), Peter Walton (Fensham), Camille Davis (Murielle), Dawn Hope (Maureen), Kay Skinner (Peggy), Lesley Roach (Rhoda), James Cossins (Headmaster). Rated G.
Frida. USA / Canada / Mexico, 2002, 123 min.; Dir.: Julie Taymor; Scr.: Clancy Sigal, Diane Lake, Gregory Nava, Anna Thomas (based on the biography by Hayden Herrera); Phot.: Rodrigo Prieto; Ed.: Francoise Bonnot; Prod. Des.: Felipe Fernandez del Paso; Art Dir.: Bernardo Trujillo; Set Decor.: Hania Robledo; Cost. Des.: Julie Weiss; Music: Elliot Goldenthal; Prod.: Sarah Green, Salma Hayek; Cast: Salma Hayek, Alfred Molina, Geoffrey Rush, Valeria Golino, Mia Maestro, Roger Rees, Ashley Judd, Antonio Banderas, Edward Norton. Rated R.
Others would definitely argue that this movie is an abomination and should have never been released on DVD. I beg to disagree. Hitler and the Nazis did exist and it serves no purpose to deny it. In fact, yes, it was a painful period of the human history, but it is also very important to teach it so everybody knows what happened and how it happened in order to avoid ever repeating such terrible mistakes. However, it must also be told that Hitler did a great good to Germany: he used the resentment generated by the defeat and humiliation of the Great War (WWI) to motivate and raise the moral of the Nation, allowing to reorganize the country, rebuilt the destroyed economy (he established the first German autobahn, or highways, for example), but he did it so strongly that it went inevitably on the path of war.
The movie also make clear that Hitler’s achievements were not the result of an haphazard process, but that his evil intents were in the planning from the start. Already in 1934, he makes allusion in his speaches to the racial purity; and the fact that he deliberately chose the swastika as emblem and borrowed so many ideas from the Romans (banners, monumental military display, creating new road infrastructure, etc.) demonstrate that he already had the intention to follow in Napoleon’s footsteps and unify Europe under his Thousand-Year Reich.
It is eerie to think that such a dull and ordinary-looking megalomaniac could use monumental sets and perform well-crafted speaches with such a powerful result that it borders mind-control. It is scary to think that it could happen again. And it is funny, because I could not watch this movie without thinking about Star Wars: Lucas definitely found inspiration in this movie for his music, costumes and sets.
“Triumph Of The Will” is a beautiful movie and a great example of cinematogrophic art, but, more importantly, it has a great historical value. It fits quite well in my DVD library, alonside movies like The Birth Of A Nation. It really must be seen.
The extras includes another short movie (17 min.) by Riefenstahl (“Day Of Freedom”) as well as an audio commentary by historian Dr. Anthony R. Santoro. About the movie, see also the Wikipedia page.
Triumph Of The Will. Germany, 1935, 114 min., B&W, subtitled in English; Dir./Ed.: Leni Riefenstahl; Scr.: Leni Riefenstahl, Walter Ruttmann; Phot.: Sepp Allgeier, Karl Attenberger, Werner Bohne; Music: Herbert Windt. Not Rated.
Eight Below is the remake of the Japanese movie Antarctica (Nankyoku Monogatari / South Pole Story) (directed by Koreyoshi Kurahara, with a script by Toshiro Ishido, Koreyoshi Kurahara, Tatsuo Nogami and Kan Saji, and starring Ken Takakura and Tsunehiko Watase—with a small role for Susan Napier, author of “Anime: From Akira to Princess Mononoke”!—and music by Vangelis). Based on the true story of a 1958 Japanese Antarctic expedition, it was released in 1983 and became a huge success. The original movie was a real tear-jerker, had a superb photography and focused on the dogs’ hardship (out of fifteen Sakhalin Huskies, only two survived).
The American version is still a sad movie showing the beautiful landscape of Antarctica (in fact it was mostly shot in Canada and Greenland, with some stock footage of Antarctica), but it is certainly not as beautiful as the original. It is the story of an American Antarctic expedition and focuses mostly on the dogs’ master emotions, his rescue efforts and it is a much shorter movie (120 min. vs 143 min). The Leopard Seal that attacks the dogs doesn’t look real and somebody should have told the director that during the Antarctic winter, it is mostly dark. What annoyed me the most is the fact that [SPOILER: highlight to reveal] all dogs but two survived [/SPOILER], the total opposite of the original movie — but, hey!, it’s a Walt Disney movie after all! However, all in all, it is a nice, entertaining movie. The extras include deleted scenes and a “making of.”
Eight Below. USA, 2006, 120 min.; Dir.: Frank Marshall; Scr.: David DiGilio (based on Nankyoku Monogatari); Phot.: Don Burgess; Ed.: Christopher Rouse; Music: Mark Isham; Cast: Paul Walker, Bruce Greenwood, Moon Bloodgood, Jason Biggs. Rated PG.
The Tailor of Panama. USA/Ireland, 2001, 109 min.; Dir.: John Boorman; Scr.: Andrew Davies, John Le Carré, John Boorman; Phot.: Philippe Rousselot; Ed.: Ron Davis; Cast: Geoffrey Rush, Pierce Brosnan, Jamie Lee Curtis. Rated R.
A few interesting anecdotes (that my wife read in a Kinema Junpo article): the only known actress, Minnie Driver (who’s playing the diva Carlotta), was lip-synching (rather disappointing) and Emmy Rossum (playing Christine) was only sixteen year-old at the time of the shooting!
The Phantom of the Opera. USA/UK, 2004, 141 min.; Dir.: Joel Schumacher; Scr.: Joel Schumacher & Andrew Lloyd Webber (based on the novel by Gaston Leroux); Phot.: John Mathieson; Ed.: Terry Rawlings; Cost.: Alexandra Byrne; Cast: Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Minnie Driver.
“If you are cold, tea will warm you; if you are too heated, it will cool you; If you are depressed, it will cheer you; If you are excited, it will calm you.” ― William Ewart Gladstone