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Posts Tagged ‘Jean-Pierre Jeunet’

When visiting my parents or talking to then on the telephone they often ask what movies I have seen, if I respond with the name of a film they haven’t heard of my mom, knowing I watch a lot of foreign language movies will ask “is it foreign”. On more than one occasion I have given the somewhat flippant and slightly rude response “yes, American”. It is funny that a movie made five thousand miles away in Hollywood is familiar and not foreign because it is in something similar to “The Queens English”, and yet something made across the channel in France, still on the same continent as England, is in some way foreign and exotic. Maybe we are two nations joined by a common language and not divided by it as George Bernard Shaw quipped. Whatever the reason, as we step below the surface of these idea we find an interesting thing, filmmaking does exist beyond the bright lights of Hollywood, both in Europe and in the rest of America.Mean Streets The Terminator Blood Simple Memento

When I talk about American independent cinema it isn’t just the obvious and seminal movies like Easy Rider (1969) (Dennis Hopper) or Two-Lane Blacktop (1971) (Monte Hellman) or the small no budget movies that you have never heard of. Think of some of the biggest name directors working today: Martin Scorsese, James Cameron, Ethan and Joel Coen, Christopher Nolan, then look at their independent films Mean Streets (1973), The Terminator (1984), Blood Simple (1984), Memento (2000) . Sam Raimi may be making money movies for Disney now but it all started with Evil Dead (1981) and Evil Dead II (1987). Would George Lucas have made Star Wars (1977), if he hadn’t already made THX-1138 (1971) or the hugely profitable American Graffiti (1973)? Then there are directors like David Lynch, Quentin Tarantino and Darren Aronofsky that are just more comfortable outside or on the edge of the system. There was a time before he started believing his own publicity that Kevin Smith was the darling of the indie scene thanks to the cult status of Clerks (1994), but before that came Richard Linklater’s Slacker (1991). A day in the life of various social outcasts and misfits held together by loose strands and an even looser narrative, the style and the realistic dialogue became a blueprint for a generation. Linklater wasn’t seduced by Hollywood instead he remained in Austin and two years later he came up with Dazed And Confused (1993).Dazed And Confused Clerks THX 1138 Evil Dead

The same can be said for foreign language cinema, it isn’t all about weird esoteric art house movies, there are many accessible movies not in the English language. Not that the weird esoteric art house movies are a bad thing, they are just not the best place to start. The test as to if a movie is accessible and worth seeing is simple, would you watch it if it were in English? If the answer is yes, it is worth a look. There were two movies that seemed to cross the language barrier that came out within a year of each other just over a decade ago: Ang Lee’s Crouching Tiger, Hidden Dragon (2000) and Jean-Pierre Jeunet’s Amélie (2001). Many of the people who watched and enjoyed them wouldn’t normally have seen a movie in another language. There have been some interesting examples too; the French thriller Tell No One (2006) is very American in its style, no great surprise, it is based on an American novel (of the same name) by Harlan Coben. A Hollywood remake was supposed to have been made but it doesn’t appear to have materialised yet. The same can’t be said for Anything for Her (2008), it took just two years for the American remake The Next Three Days to hit cinema screens. Both Tell No One and Anything for Her benefited from the presence of actresses familiar to English speaking audiences Kristin Scott Thomas and Diane Kruger respectively. On the subject of remakes the terrible Queen Latifah movie Taxi (2004) is a remake of a great French movie also called Taxi (1998). It has spawned three sequels (the first of which is also really good) the movies are notable for lots of things including significant early roles for Marion Cotillard.Crouching Tiger, Hidden Dragon Amélie Tell No One Anything for Her

When I first saw Oldboy (2003) it immediately became one of my all time favourite films. I didn‘t expect it to have gained the following that it has, I also didn‘t think Hollywood would dare to touch it, but they have the American remake of Park Chan-wook’s vengeance movievis in production and is set for release later this year, it is directed by Spike Lee. The other movie that plays well to British and American audiences is Run Lola Run (1998). It put its German star Franka Potente and director and Tom Tykwer onto the international stage both have worked in American and their native Germany many times since. But I can trace my first experience of a foreign language movie back a little further than that. In 1990 I read a review of a film I really wanted to see Nikita (1990). At fourteen years old I didn’t have a chance of getting into see it at the cinema to see the eighteen certificate movie, but a couple of months later (when I was fifteen) renting the video was surprisingly easy. Its impact in America was such that it spawned a Hollywood remake and two television series. Its director Luc Besson’s next two films Léon (1994) and The Fifth Element (1997) were in English.Oldboy Run Lola Run Nikita Taxi

I have done little more than scratch the surface of independent and foreign langue movies, but I hope I have inspired at least one person to look below the tent-pole blockbuster and popcorn movie and towards the smaller films that don’t get all the publicity. Many of them will get limited runs in big multiplexes but others are harder to find, but if this means you are also helping to support your local independent cinema’s it’s an added bonus. As you grow to love them as much as I do you will look deeper and further back at older movies and a whole world of cinema will open up to you. I know that I am to a certain extent preaching to the converted as many readers are film fans and bloggers themselves and are far more cineliterate than me.

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Have you ever noticed the number of actors and actresses who advertise aftershave and perfume? If you haven’t take a look at your TV as we approach Christmas and you may be surprised. The thing I didn’t realise until recently is how many of them are directed by big A list directors. This isn’t a new thing, David Lynch made an advert for Opium by Yves Saint Laurent in the early 90’s, he has since gone on to direct one for Gucci and a bag commercial for Dior starring Marion Cotillard.

Dior’s Midnight Poison Commercial starring Eva Green was made by In the Mood for Love director Kar Wai Wong. Sofia Coppola has made two adverts for Dior, the most recent feats “brand ambassador” Natalie Portman. With the help of CGI Charlize Theron’s second Dior, Jadore advert also feature Marilyn Monroe, Grace Kelly and Marlene Dietrich it is directed by French director Jean-Jacques Annaud. The inclusion of Marilyn Monroe is an interesting and potentially risky one as the actress is generally associated with Chanel.

On the subject of Chanel, they have really embraced the idea of using movie directors: The Bleu de Chanel advert featuring French actor Gaspard Ulliel (Hannibal Rising) was directed by Martin Scorsese. The Chanel #5 advert from a few years ago featuring the song Sea of love (the one that ends with an aerial shot of a swimming poor that looks like a perfume bottle) was directed by Ridley Scott. Do you remember Estella Warren as the Little Red Riding Hood? (also a Chanel No. 5 commercial) That one was directed by Luc Besson. Its no surprise that the Paris set Chanel No. 5 commercial had echoes of Moulin Rouge! Not only does it star Nicole Kidman but it was directed by Baz Luhrmann. The current Chanel No. 5 advert stars Audrey Tautou and is set on the Orient Express, it reunites the actress with the Amelie/A Very Long Engagement director Jean-Pierre Jeunet. Keira Knightley has made two Chanel, Coco Mademoiselle adverts the most recent one was directed by Pride & Prejudice and Atonement director Joe Wright.

The commercial that has been getting a lot of airtime recently is the Gucci Guilty advert featuring Evan Rachel Wood and Chris Evans and directed by comic book writer turned film maker Frank Miller. With an over stylised look and heavy use of green screen it is very reminiscent of Sin City.

A recurring trend in fragrance commercials is directors reuniting with actors they have made films with. Maybe one day Tom Tykwer will make a perfume commercial with Ben Whishaw and Rachel Hurd-Wood or Karoline Herfurth, that’s one I would like to see!

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