Entries tagged with “Gainsbourg”.


Joann Sfar is the director of Gainsbourg, Une Vie Heroique, a film that I loved immensely, one of the best I have seen lately. I was not astonished to learn that his Jewish origins are doubled by some Belgian identity, as he is a well known author of bandes dessinees. The character of one of his most popular series – the rabbi’s cat is coming now to screens and we spent a couple of hours in our last day in Paris to see this 3-D animated movie. If you are curious about Sfar and his (small) world see his blog Le Petit Monde de Joann Sfar at http://www.joann-sfar.com/. Some of his other heroes are Chagall and Brassens.

source http://en.wikipedia.org/wiki/Joann_Sfar

The story is set in the Algiers of the 30s and the characters are the strongest side of the film. Rabbi Sfar is one of these venerated figures of Sephardi rabbis we would like to see more in real life. He is wise and has a great sense of humor, is tolerant and his best friend is the Muslim sheik  Mohammed Sfar (of course, a mirror of himself in tolerance and ecumenicism), he gladly bends the strict rules of Judaic conversions when faced with true love and even pardons the cat who has swallowed his beloved parrot just because it got the divine gift of speaking. The ideal rabbi.

source http://www.facebook.com/LeChatDuRabbin?sk=app_190322544333196

Although we get too little time to know the other characters in the story we are already charmed by the daughter of the rabbi and we hope to meet her in the next episodes of what must become a series. A few other colored characters embark in a cross-African adventure with Indiana Jones flavored promises in the search of the ideal Jewish city where pure Jewishness and proud independence is to be found. Short after the city is found and proves to be a militaristic fortress (any hint with present tense on the responsibility of the viewer) the movie quite abruptly ends. So it must have a continuation, as almost nothing is solved from a characters or story development, and as the action happens in the 30s we now know too well what happened to the Jewish world in the 40s.

(video source ucgdistribution)

The film has a lot of charm and a lot of flaws. I loved the way it is drawn, which descends from the best French and Belgian tradition in the genre. The 3-D effects seem under-used, and I do not think it will make much difference to see this film in 2-D. The characters are interesting and as a viewer you start caring for some of them almost as soon as they show up on screen. The Jewish world of North Africa is well rendered, and the story of the Russian refugee has a touch of Chagall. The message of tolerance and understanding between faith may be naive but such a message is never preached too often. It is exactly the action component so string in other films of the genre which is missing in this movie, or maybe this was just a prelude, in which case I would preferred to see it together with the first and maybe second episode in the series.

 

source http://en.wikipedia.org/

Where does this amazing film come from? Who is Joann Sfar, a director I never heard about before? The easiest answer at hand was the wikipedia entry which tells us that Sfar is a well known comics author in the fabulous French-Belgian tradition. He is of Jewish origin, and his next film is an adaptation of one of his comics successes called The Rabbi’s Cat.

source www.imdb.com

And suddenly all makes sense. The opening scenes of the film contain the key of the biography of French musician and poet Serge Gainsbourg as imagined by Sfar. We see Lucien Ginzburg, a Jewish kid in occupied Paris during WWII daring not only to laugh in fronde at the nose of the collaborationist police by being the first in line to receive his yellow Star of David as a sign of nobility rather than an anathema, but moreover, to transform in his mind and his sketch drawings  the fat rapacious Jew on the Vichy posters in the thin, stylish, long nose and big years Gueule - the alter-ego who will guide his steps and feed his revenging self-confidence for the rest of his life.

source http://bestforfilm.com/

The combination of acting and cartoon is not a new thing, but it has never been tried before in a biopic to the best of my knowledge. Sure, it is not the usual respectful biopic but it’s the vision of Sfar about Ginzburg – Gainsbourg, and Sfar as he says in the final text that runs before the credits was more interested about Gainsbourg’s lies than by his perceived truths.  Moreover, for sure Gainsbourg himself would not have appreciated a respectful film. Ironically under-titled Vie heroique (heroic life) the film takes us though the artistic and especially womanizing career of Gainsbourg from the early 50s to the late 70s. We see him in the company of such French cultural icon as Boris Vian and especially of fabulous women such as Juliette Greco, Brigitte Bardot and Jane Birkin (and actually the list in the film is very partial). I enjoyed each of the scenes in this part of the film which combine style, attention to details (just follow how fashion changes marking the progress of time) and deep understanding of the atmosphere of the Parisian clubs and artistic milieu in the mythic mid-20 century. His Gueule alter-ego mentors him though this trip and when he decides to renounce his patronizing, it’s the beginning of the end – the charisma goes away and the effects of his excesses slowly destroy him. Maybe a little more of his art would have provided an even more complex and balanced image of the person that Gainsbourg was – this would be my only observation.

(video source theindependent)

The choice of Eric Elmosnino as Gainsbourg is excellent, he drives the character from the insecurity of the young age to the decay of the end, all the time with charm and deep empathy. He proves a perfect understanding of the intentions of the director and a full identification with the identity dilemmas of the French-Jewish Gainsbourg. Laetitia Casta is a perfect replica of Bardot. Lucy Gordon is mastering very well Jane Birkin‘s role. Her maturity makes even harder to explain the suicide of the young actress a few days before the film was presented in avant-premiere at Cannes.

(video source  infolivetvenglish)

Gainsbourg (vie heroique) is a complex work about France in the 20th century and about one of its major artists. For the readers of The Catcher here is a clip that throws light on another dimension of Gainsbourg, not mentioned in the film.