Reviews

Itinéraire d'un enfant gâté is the unusual fate of a man, Sam Lion (Belmondo), who has succeeded in life too quickly. But money doesn't make happiness: his loves annoy him, his children are complicated, his job is a burden. He decides to leave, pretending to be dead and leaving behind a loving family. Despite his apparent selfishness, we become attached to him and identify with him. In fact, everyone wants to live their life (or at least perceive themselves) as a great adventurer, just like him. This film makes us realise that it is possible to fulfil our wildest dreams and take our destiny in hand.

In close contact with nature, the missing man regains a taste for the true values of life, even if we quickly understand that Sam Lion still likes to control everything (his destiny and his loved ones, but also nature and the animals), which prevents him from completely cutting the ties with his former life. Even though he is presumed dead, Sam Lion finds a way to regain control of his business through a former employee Albert (Anconina) who recognises Sam Lion by pure chance in the middle of Africa. Sam Lion decides to train Albert in his image until they become one of the most beautiful and touching duos in the history of cinema. Colored with truth and humour, there are wonderful scenes between Belmondo (pretentious but touching) teaching life to his « pantin » Albert (naive and clumsy). Everything separates them but friendship eventually binds them together and in the end the two will learn a lot from each other.

The talent of Belmondo and Anconina, as well as the incredible soundtrack, further embellish this beautiful story. The non linear narrative of the movie allows us to go from laughing to crying very quickly, and that's the beauty of the film. Finally, the shots are breathtaking, especially the scenes with the zooms on Belmondo's charismatic face and confident look. Alternating flashbacks of Sam Lion's sailboat floating on the choppy waves with static shots of the actors' faces, we understand that while the waves sweep away the past, determination allows each of us to set sail and decide on our own itinerary.

This movie depicts twin sisters, incarnated by Catherine Deneuve (Delphine), and her real- life sister, Françoise Dorléac (Solange). Charming and spiritual, the two sisters have to take part in the preparation of a fair. Between rehearsals, Delphine and Solange wander in the streets of Rochefort, whether to school to pick up their ten-year-old brother, to the café of their mother Madame Yvonne (Danielle Darrieux), or to the home of Monsieur Dame (Michel Piccoli). After all their comings and goings, the Garnier sisters dream of meeting their ideal man at the corner of a street. At last, the young ladies will find their alter egos: a famous American composer Andy (Gene Kelly) for Solange and a painting sailor Maxence (Jacques Perrin) for Delphine.

The Young Girls of Rochefort draws its inspiration to the 40's and 50's American musicals, which might be defined with a single distinctive feature: the performance of music, singing and dancing. Accompanied by Michel Legrand's timeless music, Demy's film is a musical in its traditional form since the characters sing, talk and dance like in the American classics. Moreover, most classical Hollywood musicals feature happy endings and are not expected to portray reality. Therefore, Demy follows the conventions of the genre as everything contributes to making this movie a musical enchantment. Indeed, as in a fairytale setting, Bernard Evein, the decorator of the movie, repainted in white, yellow, pink and blue 40,000 m2 of facades in Rochefort. Indeed, if most classical Hollywood musicals feature relatively unreal joyous stories and happy endings, Demy pays respect to the genre as everything contributes to making this movie a musical enchantment.

However, The Young Girls of Rochefort is articulated between two opposing axes: a colourful and enchanting fairytale and the implacable vision of reality. Indeed, the script incorporates allusions to events that could disrupt this wonderful world, reminding to the audience the cruelty of life and bringing Demy's cinematic style closer to that of his New Wave contemporaries. Therefore, The Young Girls of Rochefort also offers a trivial approach to life. In fact, a few months after the release of the movie, tragedy struck Françoise Dorléac who died in a terrible car accident at only 25 years old....

En attendant Bojangles, the book as well as the film, is in my point of view a masterpiece, and yes, nothing less! The film made a particular impression on me, I came out of it completely overwhelmed. The music, the settings, the actors: everything is there to poetize Olivier Bourdeaut's novel. Maybe I didn't have enough imagination when I read the book? Taking us from laughter to tears without warning, En Attendant Bojangles portrays two lovers, Camille (Virginie Effira) and George (Romain Duris), who laugh at norms and preconceived ideas. Coloured by this "Insoutenable légèreté de l'être", this film explains the importance of preserving innocence, joy, and of always continuing to dance in a world that is far too serious and responsible. If the fantasy and imagination of Georges is beautiful and poetic, it seems that he fights against his reason for love so as to never disappoint his Camille. Yet, the two lovers are caught up with reality as Camille gradually sinks into madness. Maybe there are some lengths, especially during the scenes in the middle of the film in the psychiatric hospital? Maybe some of Camille's madness episodes are a bit exaggerated ? Or maybe it was just not what I wanted to see? In any case, all this will never change my opinion on this film which is the highlight of my year!