Joyce Glasser Review French dispatch (October 10, 2021) Certificate 15,108 minutes.
From the sound of it, you would have to be a bitter Brexiteer or a moody Philistine to not love Wes Anderson’s new movie, French dispatchHas been described as a “love letter to journalists” and clearly as a love letter to actors. It boasts the cast of the most starred international A lister in 10 years. Filmed in Angouleme, southwestern France, this work is also a personal love letter to France, where Anderson lives.Above all, it’s a homage to New Yorker Magazine This Amazon-led vanity press, a bastion of cross-border intellectual integrity and excellent writing that is quickly gaining attention and disappearing in the polarized digital era.
French dispatchA foreign sect of Liberty in Kansas City, in the colorful city of Ennui-sur-Blasé (‘boredom-on-Blasé–drôle, non?). Sun Published by the legendary Arthur Howitzer Jr. (Anderson regular Bill Murray), the funeral marks the end of the era and the trigger for anthology films.
The howitzer mandated that after his death, the publication would cease functioning until one final problem arose. What we are looking at is the final issue, which includes an article about funerals and four representative articles from past issues. Howitzer is one of the rare editors who encouraged great novelists to write short stories. Allowed the writer to exceed the word limit and was able to draw a good story from the writer without noticing who was sitting on it.Howitzer is based on co-founder Harold Ross New Yorker He was Editor-in-Chief in 1925 and until his death in 1951. The best or sincere scene in this movie is a conversation about howitzers and commissioned articles with various writers.
After the death of the howitzer, Anjelica Huston (another Anderson regular) features a descriptive narration that is full of information and delivered quickly. So when the image montage starts to appear, you don’t know where to look, hear or see. Or even who to ask because there is a story in the story.
The dullest and least persuasive story is Cycling reporter Herbsaint Sazerac (Anderson regular Owen Wilson) offers a notable bird’s-eye view tour of the Sans Blague (not a joke-drôle, non?) Cafe. We don’t feel any connection to these places, no one knows if they are based on real places, and it’s an issue when we can never know.
The most accessible and involved segments, Concrete masterpieceWas introduced by art expert JKL Berensen (Tilda Swinton) during a lecture to the crowd in an anonymous hall. She, like the Parisian writer Jean Genet (1910-1986), found his talent in the sparkle of society and caused him célèbre. Moses’ muses, models and lovers are sensual prison guards (Léa Seydou) who maintain a professional separation from pinned artists.
This story is interesting, but even more interesting is Rosamond Bernier, the woman who inspired the character of Berensen. New Yorker Introduced in the January 19, 1987 issue. Worth checking. “Rosammond Bernier has the equivalent of a teacher’s perfect pitch. She sails 40-50 times a year towards her subject in the evening with the confidence and brio to eliminate the possibility of boredom. To do.”
The possibility of boredom is not completely ruled out in the third segment, “Manifest Revisions.” Clements is undoubtedly modeled after the Canadian writer Mavis Gallant, who moved to Paris in 1950 to write a short story. By 1968 she was from Paris New Yorker (The same was true of the writer Janet Flanner, known as “Jennet”). French dispatch Assigning her a story about the student revolution and the revolutionary, she is interested in Zeffirelli.
Zeffirelli, in the words of Zeffirelli’s girlfriend Juliet (Lyna Khoudri), compromises her “journalism integrity” and arrives in bed with Clements. Like the blacklisted Dalton Trumbo, or the revolutionary Jean-Paul Marat killed by a woman who opposes politics, Zeffirelli writing nudes in the bathtub is interesting, but these conceit. Makes it difficult to believe in the character of Chalamet.Meanwhile, just as Franco Zeffirelli directed the famous movie version, he registers Anderson playing by name again. Romeo and Juliet (Girlfriend’s name).
Reading Gallant’s is more rewarding May Event: Notebook in Paris — II Published in the September 13, 1968 issue New Yorker.. Gallant did not rewrite the student leader’s manifest, as Krementz did for Zeffirelli, but with journalist integrity and insight, as did filmmaker Ulrike Ottinger in a recent autobiographical documentary. I caught the movement. Calligram in Paris..
New Yorker Editor Harold Ross said the copy should be clear and concise, and the writer is even the reader. New Yorker The reader knew who the celebrity was. By the time you reach the final article Private room of the police secretary, Commentary, and story layers within the story are so dense that you may want some clarity. The cast in this section alone includes great actors such as Mathieu Amalric, Willem Dafoe, Saoirse Ronan, Liev Schreiber, Edward Norton, but if you get distracted trying to follow the thread of the work, you’ll miss them. It will be.
This whimsical mudcap section is a low-backlight (actor Jeffrey) modeled after James Baldwin, one of the few blacks who fled US racism and homosexual aversion in Paris in the post-WWI and 1960s. Wright) consists of a television interview. Anderson is wise and wants us to know about it, so rest assured that in 1948, real Baldwin (24 years old at the time) and his compatriot Richard Wright had a famous discussion about Baldwin’s article at the Brasserie Lip. Please give me. zero A magazine that criticized Wright’s “protest novel” as sentimental.
The fine actors who adopted Anderson’s signature style seem to be exploding, but can the same be said for the viewers? Characters and their stories have emotional cavities that keep us away. Anderson’s film cleverness, visual brilliance, and erudition are engrossed in this appetizing but indigestible Smörgås board.
A smart, visually striking, star-studded but indigestible Smörgås board
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