EIFF 2019 – L’empereur de Paris

L’empereur de Paris / The Emperor of Paris,
Directed by Jean-François Richet,
Starring Vincent Cassel, Olga Kurylenko, Patrick Chesnais, August Diehl, Denis Lavant, Freya Mavor

Another evening at the Edinburgh International Film Festival, and this time it is a French period piece, based on a real-life historical character Eugène François Vidocq, who I must confess I had only vaguely heard of, mostly in relation to him inspiring later fictional works by the like of Poe and Balzac among others. This is classic poacher turned gamekeeper stuff, inspired by the actual Vidocq, a criminal who turned thief-taker, his familiarity with the Parisian underworld of the Napoleonic era and his own native ingenuity allowing him to track and capture the most wanted criminal gangs of the era in a way the regular authorities – mostly just watchmen with clubs and a heavy hand – could possibly manage. Vidocq is rightly famous in his native France as the founder and first director of the Sûreté Nationale and thought to be one of the first – if not the very first – private detectives.

But frankly, they had me at Vincent Cassel…

I’ve loved Vincent Cassel, with his charming bad-boy approach to so many roles, for many years, and the role of Vidocq seems almost tailor-made for his strengths, his ability to project competing, often contradictory qualities of ruthlessness, self-gain, dishonesty but also paradoxically heroism, resourcefulness, of doing the right thing when his back is against the wall. This role seems to suit Cassel especially well at this stage in his life and career, as he portrays the famous criminal, thought to have died in one of his infamous escapes years before, trying to go straight in Paris in 1805, but being drawn back into the underworld and the local law enforcement (the two are not as distinct as you’d expect, not back then). This is Paris in the era of Napoleon, but it has not yet been remade by Haussman as the broad boulevard Paris we know and love today, this is the older Paris, filthy streets, creaky, tilting old houses, tanners, butchers and washers working openly in the festering streets. The middle-aged Cassel’s more grizzled visage and a more world-weary sense about him fit into this scenario perfectly.

Yes, there are beats to this story you will recognise – the criminal trying to turn his life around, to be legitimate only to be dragged back into the murky underworld of crime (I keep trying to get out, they keep dragging me back in approach), the assembling of his own team to perform his task and win his amnesty, the creation of his opponent, just as intelligent and capable, and even more ruthless (his own Moriarty), you can spot all of these now common tropes, but it really doesn’t matter because this is beautifully done. The cinematography is gorgeous – you can almost smell old Paris, fights in crime lairs in the limestone tunnels beneath the city are lit by fire and candlelight to give them eerie aspects, contrasting against the opulence of the Imperial court of Napoleon.

Cassel is, as you’d expect, simply brilliant in this role – as I said, Vidocq could have been custom-made to be a Vincent Cassel character. Leo Carax regular Denis Lavant also essays a stand-out performance, twisting his body language and facial expressions into a cruel, mis-shapen, Fagan like criminal overlord, vile, despicable, ruthless and dangerous, without ever tilting that performance too far into parody (you believe how nasty and dangerous his gang leader is). A classy, stylish, period crime movie that should also introduce the rest of the world to the real, historic Vidoqc and his role as one of the fathers of modern policing and detectives.

The Most Assassinated Woman in the World

The Most Assassinated Woman in the World,
Directed by Franck Ribière,
Starring Anna Mouglalis, Niels Schneider, Jean-Michel Balthazar, Julie Recoing, Michel Fau, André Wilms

Another evening at the Edinburgh International Film Festival and another intriguing film, this time from French director Franck Ribière, this partakes of elements of murder-thriller, period piece and delightfully lurid horror. Set in the famous/infamous Le Théâtre du Grand-Guignol in the Pigalle district of Paris during the 1920s, The Most Assassinated Woman in the World takes real-life settings and historical characters – most notably the theatre’s great scream-queen, Marie-Thérèse Beau, better known by her stage name of Paula Maxa, played by Mouglalis, an actress who was slaughtered in thousands of violent and gorey ways every night on the tiny stage of the theatre. It’s claimed she was “killed” some ten thousand times, and early on her character lists many of the ways, from strangling to stabbing, slashing, burning, boiling, decapitation, being pulverised. And yet, she shrugs, here I still am…

In some ways this listing of nightly horrors enacted on the stage of this notorious theatre (which only closed in the 1960s) and the fact that Paula “survives” it all and keeps going is part of the central theme here: we were told in the post screening Q&A with the film-makers that they were not aware of a violent assault Paula had endured in her younger years, and yet they had written such a scene in affecting her and a sibling, in an uncanny art imitating life moment. They were exploring the nature of horror and violence, how it affects people, even the pretend violence of the horror on stage or in the movies, both those who watch and those who act it out (imagine being an actor having to be killed in inventively gruesome manners every single night). Experimental psychologist Alfred Binet, another real-life character involved with the actual theatre, is also, appropriately, a figure here, helping owner De Lorde construct not just physically awful torments and demises for Paula, but mentally brutal as well, pushing, pushing, pushing, aided by the giant figure of Paul, the special effects wizard (another real life character, apparently his stage blood formula is still used to this day).

Mixed into these factual elements are more fictional dramatic ones – a young journalist from Le Petit Journal, Jean (Niels Schneider), investigating both the moral brigade demanding the theatre should be closed for indecency (forerunners of later “we should control what everyone can see, for their own good” types that burned rock and roll records or the Mary Whitehouse mob) but also a series of disappearances and murders around the Pigalle and Montmartre areas (loved by tourists today, but rather rougher back then). Is the murdered inspired by what he sees on stage, is it driving his fantasies to act them out for real? Who are the figures haunting Paula? Does her work help her excise her own demons or is it all pushing her to brink – and do those in control of the theatre even care or are they happy to push beyond the limit?

The film is set in mid 1920s Paris, but the cobbled back streets, the heels clicking on them through foggy nights, the evening capes, they could all come from a Victorian-set Hammer film, and the gallons of luridly red “Kensington Gore” as the blood flows scarlet stands out against the dark, mostly nocturnal scenes, as vivid a claret as ever flowed in a Hammer film. Interestingly they film-makers told the festival audience that originally this was to be an English language film, set in New York, but as they explored it more, found the historical Paula Maxa, it became clear they really needed it to be a French film, set in Paris. They struggled for funding, but a Belgian film fund stepped up, as did Netflix, who they thought would ask for it to revert to the original English language premise, but instead were quite happy for it to be a period French piece.

In fact Franck Ribière commented on the “Netflix issue” which has come up at quite a number of film festivals around the world, most notably at Cannes, where some are glad of the new stream of funding and distribution while many others are horrified and say it is killing cinema with movies going straight to television streaming and bypassing cinemas. I can see arguments on both sides, but that’s a debate for another article, not a review. I will note that Franck Ribière explained he didn’t see the problem, it was another welcome source of funding for film-makers, and nobody makes a director or writer work with Netflix, it is up to them to approach them about partnerships, and that he is happy to be able to watch films as he wants, in cinemas, on TV, on his phone. Many other directors, I am sure, disagree, but it was interesting to hear him comment.

Edinburgh International Film Festival 2018 - Most Assassinated Woman in the World 02
(Director Franck Ribière in dark shirt on the right and his colleagues at the post-festival screening Q&A with the audience)

No news on a UK release for this one yet, but as it is co-funded by Netflix I assume it won’t be long before it appears online, so those of you who don’t have a film festival or arthouse cinema nearby will be able to see it too. All in all I really enjoyed this, it offered both the over-the-top horror the Grand Guignol was famed for (and which it has given its name to as a general term in horror now) mixed with a more psychological aspect, and layers of “plays within plays” as we see fictional and real elements of Paula’s life mixed with pretend versions for the film and more pretend but almost real versions on the stage, until we’re left wondering what elements are real, what scenes are what they seem to be and which are theatrical artifice, all shot in a beautifully sensual manner. One of the smarter, classier horrors I’ve seen recently, and yet one which happily plays with elements of classic horror too.

Film fest time

Dominique Pinon at Edinburgh Film Festival 05

I’m enjoying a few days off for my annual Edinburgh International Film Festival fun. Last night at the Traverse Theatre as part of the film fest they had an “in conversation” with French actor Dominique Pinon, who has appeared in a number of my favourite films over the years. One of those evening that reminds me one of the reason I love living here so much is that with our festivals everyone comes to Edinburgh at some point, writers, directors, actors, musicians, they all come here. I took a few photos with the new camera – sitting several rows up and back in a theatre so not the best place for taking photos, but out of the batch I shot a handful came out passably.

Dominique Pinon at Edinburgh Film Festival 07

Dominique Pinon at Edinburgh Film Festival 08

Vive la Revolution! Off with their heads!

wine bottle in La Marche Francais 2

Happy Bastille Day – vive la revolution! This is the fancy cover on a bottle of wine in my local French deli/restaurant, the fine La Marche Francais in Edinburgh’s Haymarket, that caught my eye one day while in getting some nice wine and cheese and they were nice enough to let me take my ever-present camera out and fire off a couple of snaps, so I thought it seemed appropriate to post today for the Fête Nationale.

Fleur de Saison

Rather like this video track of a French pop track by Emilie Simon, found by following a suggested link on YouTube while looking at some Dave McKean animations (on which note, we’ve got a major Dave McKean interview in the works for the Forbidden Planet blog in the near future to look forward to):