A female centred film, a sequel to film I loved with an even better cast of women than the original but in which nothing seems to work. Great performances by Angelina Jolie and Michelle Pfeiffer that are cut to be as ineffective is possible. Beautiful set design, wonderful effects, all ruined by a bad script and worse direction. All the raw elements are there except the wit and imagination to bring them together effectively. It´s like a dish with superb ingredients but made from a bad recipe by a terrible cook. That it has a worthy ´We are the world´ message somehow makes it worse. The podcast makes an effort to discuss its virtues but somehow returns to the faults.
The podcast can be listened to in the players above or on iTunes.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.
Jacques Prévert wrote poetry; Marcel Carné filmed it; Jean Gabin and Arletty brought it to life and gave it heart. The film begins with a view of an apartment door, we hear shots, a man comes out clutching his wound and dies tumbling down the stairs. Another man comes out the door with a smoking gun. His neighbour calls him François but we know him as Jean Gabin. Why did he do it? The rest of the story will tell us, in flashbacks, framed by showers of bullets, as the police close in on him in his flat. As daybreak comes, we will learn about François, his working conditions, the community that loves and supports him, his loves. We will also learn that people like François really didn’t stand much of a chance in France in 1939. Le jour se lève is a beautiful film in which love, goodness and community are interwoven with exploitation and betrayal to make up the very fabric of its fatalism. It’s a great movie. A key exemplar of ‘French Poetic Realism’. It was ranked top ten in the very first Sight and Sound poll of Best Films in 1952, and has remained a cinephile favourite ever since. .
It’s James McAvoy’s film. Angelina Jolie has only a small, supporting role, though she looks every inch the movie star throughout and you can’t help looking at anyone else when she’s on screen. What distinguishes this film is the visuals: mind-bending, space-bending curving distortions of geographical space and direction that I think are new in action; a kind of space-warping, slow-mo, high-speed demonstration that is just thrilling to watch. This technique is also evident in Timur Bekmamvetob’s other films such as Night Watch (Russia, 2004) and Day Watch (Russia, 2006) and might be what brought him to the attention of American producers. The rest of the story-telling in Wanted is crude, tending towards the grotesque and the emphatic, no subtlety whatsoever, a kind of filmmaking meant to be consumed in a distracted environment amongst lots of other, competing, media. Wanted doesn’t support too much attention but neither does it require it: the story is almost instantly forgettable. However, the action sequences are truly remarkable. Watching these dazzling sequences is what led me to the technically rougher but more textured, complex and better ‘Watch’ films. Good fun.