Hiroshima Mon Amour (1959)

Posted on February 8, 2014 by 4 Star Films

This film is not only a seemingly early form of the French New Wave, it also has many qualities of a documentary, and it is certainly an international film. The film opens with a one night stand between a French actress and a Japanese architect who rendezvous one night in Hiroshima. In the short time they spend together, she reflects on her memories of the city that was not too long ago devastated by the atomic bomb. He often rejects her recollections but nevertheless, he cannot bear for her to leave and he continues to pursue her. Eventually in the course of their time together she relates her days back in the town of Nevers in France. During the occupation, she had a beau who was German and was eventually killed. The events and aftermath haunted her even many years later. They spend some of their time together walking the streets of Hiroshima and with their time running out they vow to remember each other by Hiroshima and Nevers respectively because their real names are never mentioned. This film begins very much like a documentary on Hiroshima but very quickly it turns into a character study focusing on ideas of love, memory, and personal identity. This film is more about art and expression and it uses quick flashbacks to replicate the past with voice-overs bringing the audience back to the present. That being said it should be treated as such because it truly is a masterpiece from Alain Resnais.

4.5/5 Stars

Le Cercle Rouge (1970)

Posted on January 29, 2014 by 4 Star Films

Directed by Jean-Pierre Melville and starring a cast including Alain Delon and Yves Montand, this crime film hearkens back to heist films such as The Asphalt Jungle, back in the 1950s.

In a cold open, two storylines are introduced. One man, Vogel, is in custody and is handcuffed to a policeman as they board a train. At the same time, a man named Corey is let out of prison, on good behavior, and he is tipped off on a possible heist job. In both cases, we have little background information to go on. Then, Corey pops in unexpectedly on an old mob boss and forcibly “borrows” some money from the man, who has also stolen his girl. He buys a new car and throws off a couple of thugs who were sent after him. As the morning dawns, the captive on the train makes a daring escape and flees into the nearby forest. Soon roadblocks are set and the manhunt begins. He desperately gets into an open car trunk to hide, ironically it is the same car of the man, who was recently released.

However, he was noticed and Corey tells him to get out of his hiding place. Vogel is tense but his cool and collected acquaintance helps him sneak through a checkpoint noting that Paris is his best chance of escape. Corey is chased down once again by Rico’s henchmen, but Vogel sneaks out and comes to his aid. They head to Paris and find a sharpshooter to case the jewelry store and help them with their plan. The police detective is still searching for his quarry, and he tries to enlist the help of a crooked club owner. Meanwhile, the plans are made, and the heist is pulled off with great precision and efficiency. They get away with the jewels smoothly enough. However, the marksman settles to take no part of the plunder, and their initial buyer falls through. Relatively quickly there is a new person interested, so Corey takes the goods to him. Only too late Vogel comes to warn him, and just like that, they must flee the premises with police all around.

Much like Le Samourai, this film gives off an extremely cool vibe, and it makes it all the more enjoyable to watch. Alain Delon is such a smooth operator, and whether it is the way he dresses, talks, smokes, or pulls off the heist, it cannot be easily dismissed. However, the other main players give serious and nuanced performances of their own, which cannot be overlooked. Melville makes all of his scenes so interesting, through the setup and the fashion in which his characters go through the world of the film. His characters act in the mode of behavior that they believe is correct and most are rather taciturn and guarded. I cannot decide if I like Le Samourai or Le Cercle Rouge better, but it must be said they are in a special class of crime films.

4.5/5 Stars

Le Samourai (1967)

Posted on January 27, 2014 by 4 Star Films

Starring Alain Delon as the title character and with direction by Jean-Pierre Melville, this film pulls from the French New Wave as well as Hollywood Noir and Crime films making something entirely distinct in its own right. Jef Costello is Le Samourai, an expressionless and cold professional hit man who can be seen in his trench coat and hat with a cigarette. He executes a hit on a nightclub owner and he is seen leaving by the female piano player. His girlfriend gives him an alibi and the eyewitness accounts do not line up but the investigator still suspects Costello. The hit man is let off and goes to pick up his payment only to be shot instead. He gets away and fixes himself up only to return to the night club later. He returns to his room knowing something is up because the canary is agitated and he finds a bug. The police keep on his girlfriend as well but she will not retract her statement. Costello is confronted by his assailant from before only to be offered a new contract, but they struggle and Costello gets the name of the boss behind it all. Jef is on the move again and he says a goodbye to his girlfriend before going to Rey’s home to knock him off. One last time he returns to the night club piano player and in view of everyone he walks up to her a pulls out a gun. With all eyes on him he explains his new target is her, but before he can do it, Le Samourai is gunned down. The police are relieved to have got there in time, but then they realize Jef never meant to kill her.

Delon plays such a delightfully deadly killer with a moral code. In a sense he is a tragic hero we ultimately respect because he lives a life full of solitude and honor as is the code of the samurai. I must admit that I cannot wait to see more Melville or Delon for that matter.

5/5 Stars

Amelie (2001)

Posted on November 23, 2013 by 4 Star Films

Amelie is one of those films that you will either love it or you won’t because the fact is, it marches to the beat of a different drum. It is a unique, whimsical Parisian world full of a quirky cast of characters headed by Audrey Tatou.

The ever present narrator opens the film by relating Amelie’s childhood as a young girl who was forced to occupy her time with fantasy and her imagination. Soon we are introduced to this quirky little girl and all the other figures who take up space in her life. She was isolated and her mother died when she was very young leaving her to live with her father. When she is older, Amelie moves on and begins to work in a café. Then in 1997 the death of Princess Di and a bit of fate cause her to devote her life to bringing happiness to other people. She plays matchmaker, reunites an old man with boyhood treasures, guides a blind man through the city, spurs her father to travel through use of his beloved gnome, gives renewed hope to a widowed landlady, and puts an abusive grocer back in his place. Amid her many good deeds Amelie makes friends with as solitary and brittle painter as well as Lucien, the kindly assistant at the corner grocery. Most importantly Amelie begins to realize she is falling for an unknown man after she accidentally retrieves a scrapbook of his. She tries to deliver it back to him anonymously and it becomes a wild goose chase all across Paris, full of arrows, flyers, notes, and rendezvous. However, her shyness makes it difficult for her to approach him, but with a little prodding she finally goes after Nino Quincampoix and he finally meets his mysterious girl.

This film had me in stitches at times, attempting to catch up at times, and completely mesmerized in other moments. This film has wonderful characters and such an idiosyncratic, and often abrupt way of telling their story. It was a change of pace that I enjoyed and I believe that Amelie is an enjoyable albeit eccentric romantic comedy.

4.5/5 Stars

Playtime (1967)

Posted on September 14, 2013 by 4 Star Films

Starring and directed by Jacques Tati, this film is his most ambitious work yet. The film opens in a Parisian airport with droves of tourists. Then the audience ends up looking into an office high rise full of glass, cubicles, elevators, and escalators. All throughout we observe many characters including Mr. Hulot who seems strangely out of place in this modern, suburban city. He ends up at an international expo, visits a friend’s home in the evening, and then ends up taking part in the disastrous opening of a night club. Hulot becomes acquainted with an American tourist before she returns home from her Parisian adventure. At times this film is almost like a giant ballet, with often subtle humor, and a stream of events only connected by the characters they involve. The architecture picks up where Mon Oncle left off, the sets are on a grand scale, and even the clothing of most of the people seem to fade into this world. This film is also international as well as universal because it is more about the image and sound than dialogue. After it all I was left with a satisfied smile. It may not be for everyone but for me personally it was a joy to watch.

5/5 Stars

Mon Oncle (1958)

Posted on September 12, 2013 by 4 Star Films

Starring and directed by Jacques Tati, the film revolves around the bumbling but kind-hearted Monsieur Hulot, as he interacts with his relations and young nephew. We follow Hulot as he navigates through his life in France. His sister and brother-in-law live in an ultra modern home complete with automated machines, a fish-shaped fountain, and cold-looking furniture. In contrast, there’s the carefree Hulot whose only possessions seem to be his ever present pipe and umbrella. He struggles to cope with everything modern and bungles in his brother-in-law’s factory. However, most importantly he seems to enjoy life and he is liked by all including Gerard, his nephew. This film is enjoyable because of the little things. You have the often repeated theme that brings to mind Parisian cafes. There is satire, odd architecture, little dogs, the use of or the lack of sound, many caricatures, and most importantly of all Hulot himself. It would seem to me he bridged the gap between Chaplin and Keaton with Mr. Bean. Too bad more people do not know about him.

4.5/5 Stars

Mr. Hulot’s Holiday (1953)

Posted on September 10, 2013 by 4 Star Films

Directed by and starring Jacques Tati, this is the original film that introduced the bumbling but kindly Mr. Hulot. He finds himself staying at a beach side hotel full of various different tourists. The film is not so much about plot but instead it focuses mostly on Hulot’s many antics. Whether he is paddling a kayak, playing tennis, changing a tire on his beat up car, trying to mount a horse, or accidentally setting off fireworks, Hulot is bound to cause laughs. This film is unique because as with Tati’s other works the pacing is not fast. That means we are able to relax and enjoy this vacation along with Mr. Hulot. We can take in the many sounds and images while we also watch this likable bumbler. Maybe Tati did not know it at the time but he created a memorable persona in Hulot who has his own distinct movement and attire. Without talking at all he leaves such a tremendous mark. If there was ever an influence on Mr. Bean I think the origins would definitely start with Monsieur Hulot.

4/5 Stars

The 400 Blows (1959)

Posted on March 1, 2013 by 4 Star Films

This French New Wave film directed by Francois Truffaut, more aptly titled The Wild One or Raising Hell, is about a young boy named Antoine. He comes from a working class family and his parents are struggling and frustrated. In school he gets poor grades and his teacher often punishes him. Annoyed with his life, he runs off for a time committing petty crimes and exploring the streets with a friend. That ends when he is caught stealing his father’s typewriter. Fed up for the last time his parents send him away to an observation center for boys. After he arrives Antoine escapes and runs to the ocean a sight he has never seen. With that the camera zooms in and we clearly see the face of this troubled, young boy. It is easy to appreciated this film because it does not glamorize the situation but tries to deal with it sensitively. Truffaut made a very good one here reflecting on his own experiences.

5/5 Stars

The Artist (2011)

Posted on February 24, 2013 by 4 Star Films

With a cast of all nationalities and backgrounds, this film is a breath of fresh air for many reasons. Ironically, this freshness comes in a contemporary age thanks to a look back at a former age. In black and white and almost completely silent, the movie begins in 1927. George Valentin (Jean Dujardin) is a Hollywood star of the silent era. Quite by accident he makes an up and coming star out of Peppy Miller (Berenice Bejo). Soon she makes the transition to stardom in talkies as Valentin slowly fades away. However, Peppy never truly forgets him and in different ways she tries to help him. Unfortunately, George is a proud man who loses his wife, sends his loyal chauffeur away, and will not accept the charity of Peppy. Eventually her kindness pays off however and George is no longer forgotten. All the cast including John Goodman and James Cromwell do a wonderful job at expressing emotion since this film is so unique. Because there is hardly any spoken dialogue, the score takes center stage and I think it succeeds wonderfully in setting the scene whether it is playful, dramatic, or simply silent. There are also many devices used by the director Michael Hazanavicius that help convey the story without a need for words whether it is staircases, sinking quicksand, or a trampled film poster. Furthermore, he draws great influence from films like Sunset Boulevard and Singin’ in the Rain to give this new film a touch of nostalgia. In fact, The Artist brings up so many names and films in my mind it’s wonderful. Douglas Fairbanks, Jean Harlow, the dog from The Thin Man and The Awful Truth, The Dueling Cavaliers and Lena Lumont, just to name a few. Perhaps most importantly of all the film causes me to be empathetic towards the forgotten stars like Buster Keaton and Norma Desmond. It makes Chaplin’s ability to make silent pictures during the talkie revolution seem even more impressive as well. In a year that also gave us Midnight in Paris, this film also revels in the past history of the 1920s, but perhaps more importantly it too is able to suggest a certain hopefulness in the future. In a world that is often loud and busy this film was a nice respite.

5/5 Stars

The Rules of the Game (1939)

Posted on February 15, 2013 by 4 Star Films

This French film directed by Jean Renoir is a light comedy that turns into a critique of the Upper classes. The film involves the superficial events and racy love affairs as only the French can have. It opens as a famous aviator lands his plane only to be disappointed that his married lover did not come to see him. Soon we learn that her husband has a mistress of his own. Put these four together, Renoir in his jolly role of Octave, all the other guests, then the many servants, and soon you have a major spectacle. They dine, hunt, gossip, put on a show, quarrel, and above all fall in love. It is all fun and games however until someone gets hurt. Although this film is not what we may be accustomed to in our present generation, it is easy to appreciate the satire, cinematography, and ensemble cast. Kudos to Renoir for making a very intriguing film.