Displaying items by tag: Juliette Binoche

THE RETURN

Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Claudio Santamaria, Angela Molina.

Directed by Uberto Pasolini.

One of the most significant returns in classical literature is that of Odysseus and his long journey back after the end of the Trojan War to his native Ithaca, a voyage of 10 years, many delays, many adventures, many challenges, an Odyssey.

In the past, there have been a number of films about the adventures of Odysseus/Ulysses in the 1950s with Kirk Douglas, in the 1997 television adaptation with Armand Assante and Greta Scacchi. Christopher Nolan is in production for a vast treatment of the Odyssey.

This version focuses on the last part of Homer’s epic. Which means that there are none of the adventurous and mythological episodes. It opens with a naked Odysseus stranded on the beach of Ithaca. He is found by a sympathetic slave, cared for, revives, keeps his identity secret, keeps up the appearance of a beggar.

Which means that this is a rather gripping personal drama, especially with Ralph Fiennes as Odysseus, bringing his powerful presence to the screen, the audience able to appreciate what is happening to him not only through what he says but with the intensity that Fiennes is able to communicate with his body language, manifesting, without words, much of the torment of his inner feelings.

And, there is Juliette Binoche as Penelope, the wife that he left behind, waiting for him, believing that he will return, sitting at her loom, declaring she will name a suitor after she finishes the garment, pulling it apart at night, starting again the next day. And she has been waiting 20 years, the 10 years of the war, the 10 years of her husband’s Odyssey. There is also their son, Telemachus, played by Charlie Plummer, disturbed by his father’s absence, disturbed by his mother’s behaviour, and the collapsed state of Ithaca in Odysseus’s absence.

Also of note for the film is the terrain of the island, fields, beaches, waves crashing on cliffs, waterfalls, steep mountains (filmed in Corfu), and the huge stone palace on the mountain top, fierce and foreboding, and its dimly lit interiors.

Ithaca is in chaos. There is a mounting number of suitors for her hand, lounging around, violent, demanding of Penelope. And she continues to resist, supported by her devoted nurse (Angela Molina).

And, so the questions. Will Odysseus make himself known? Will Penelope recognise him after this time? How will he encountere his son and Telemachus’s reaction? And what of the suitors and their idleness, exploiting the inhabitants of Ithaca?

The climax builds. Penelope has named the day to nominate the suitors she would choose. They gather. Odysseus in disguise is present. Telemachus is also present. And, as in the epic, Penelope demands that the suitors emulate Odysseus with his bow and arrow to be the successful suitor.

Suddenly, violence is let loose, Odysseus manifesting himself, a vicious  eruption, combat, slaughter, and the drama of the aftermath for Odysseus and Penelope, in view of what they we have seen. Will they be able to come together after the 20 years of physical and emotional distance.

With its serious dialogue, with its pauses, the intense drama, often interior, The Return plays something like an Opera scenario without the singing and music. Others have suggested that it is performed rather in the manner of a Shakespearean play. This is important to note for audiences who might have different expectations about this version of Homer, this time not the Odyssey as such, but, as the title highlights, the intensity of The Return.

(It is a surprise to find that the film has been cowritten and directed by Italian born, British director, Uberto Pasolini, a long-time producer, directing only four films including two beautifully quiet and recommended British films, Still Life and Nowhere Special.)

1. The status of Homer and his epics? Audience knowledge of the Iliad and the Odyssey? Of Odysseus, Penelope, Odysseus and his wanderings home?
2. The focus on the final chapters of The Odyssey, the title and simply, the Return? None of the popular stories of the epic? Memories of Troy, the battles, the wooden horse, the destruction? No mention of the gods, especially Athena and her role in Odysseus’ return?
3. The Greek locations, Corfu standing in for Ithaca, the cliffs, plains, waterfall, mountains? The scenes of the village, poverty and homes, the commanding palace on the mountain, the interiors, the lighting? The atmospheric musical score?
4. The screenplay, the dialogue, the interiority of the characters, interchanges? Operatic without the stylised singing? Like a Shakespearean performance?
5. The cliffs, Odysseus on the shore, naked, found by Eumaes his family, cared for, revived? Seen as a bigger, questions about the Trojan War, Odysseus and his memories, his account, regrets? The eager listening? His hearing about Penelope, the suitors, about Telemachus? Biding his time?
6. Penelope, the happy marriage, her husband going to the, the birth of Telemachus, his growing up, 20 years of the war and the Odyssey? Her waiting for her husband, devoted, her spending her time at the loom, the range of suitors, her putting them off, the loom for her father-in-law’s death? A relationship with Telemachus, his impatience, denouncing his father? The devotion of the nurse?
7. The range of suitors, their motivations, personalities, exploitation of the people, exploitation of the land, Ithaca and its collapse? The idling around the palace, the rivalries, hunting? Their being put off? A new suitor arriving and his being wounded, being thrown back into the water?
8. Antinous, his presence, devotion to Penelope, attitude towards Telemachus, the scene with his night with the slave girl? His conversations with Penelope, urging his cause?
9. Odysseus, his recovery, his going out into the countryside, his dismay? Hearing the story of the suitors? His desire to go to the palace, the episode with the dog which recognised him, the reaction of the suitors, ridicule, hostility, his asking for food? The confrontation and his ability to kill the opponents? The withdrawal of the suitors?
10. Telemachus, his criticisms, his sailing off, the dangers and his return? The suitors and their hostility? The desire to hunt him down?
11. Odysseus, food, his being washed, the nurse recognising his will and in scar, his urging her to silence?
12. The meeting with Telemachus, the revelation that he was his father, Telemachus and his hostile reaction? The hunt, the suitors, Odysseus knocking his son, Eumaes and the helpers, the pursuit, climbing the cliff, safe? Telemachus and his interactions with his father? Accusations, criticisms?
13. The pressure on Penelope, her undoing the weaving, continuing the next day, her upset and tearing it apart? Antinous and his pressurising Penelope? Her decision to name one of the suitors?
14. The gathering, Odysseus present? Telemachus? Penelope and her setting the test of the bow and the arrows? The attempts of the various suitors and their failure? Penelope telling Telemachus to give the bow to his father? Odysseus, warming the bow, twisting it between his legs, setting it up, firing the arrow?
15. The suitors and their upset, Odysseus and his firing all the arrows, killing the suitors? The closing of the doors? Telemachus, the confrontation with Antinous, his mother telling him not to kill the suitor, his killing him?
16. The consequences, blood, the deaths? Telemachus and his decision to sail away?
17. The encounters between Odysseus and Penelope, the conversations, his leaving, her devotion, the past, the war, his return, the violence, the deaths of the suitors? His turning over the loom, opening the door, ascending to the bedroom? Their talk, to understand each other, to overcome the violence in the past, sharing these memories, some forgiveness, acceptance, and hope for the future?

THE TASTE OF THINGS/ La passion de Dodin Bouffant

France, 2023, 135 minutes, Colour.

Juliette Binoche, Benoit Magimel, Emmanuel Salinger.

Directed by Anh Hung Tran.

The title is a bit generic! But it does lead us in the way of food. Perhaps the original French title, La passion de Dodin Bouffant, which actually indicates the narrative of this story, seem too cumbersome for the English version.

Chef, menu, restaurant, gourmet, all words that lead us to France and French cuisine. And, for 135 minutes, this is a film, with extraordinary detail, about French cuisine. No idea here of just rustling something up for the evening meal!

What is immediately attractive about the presentation is that this is a period drama, an elegant 19^th century mansion, costumes and decor, a slower paced atmosphere, inviting the audience in, to become more quiet, to observe, to wonder…

In fact, for the first 30 minutes of the film, there is a detailed step-by-step preparation of a meal – an ordinary meal in this household rather than a banquet even though the dishes prepared would serve beautifully at a banquet. This is the household of Didon Bouffant who is a master chef. And he is assisted, for over 20 years, by Eugenie, obviously in love with her but her refusing his proposals. Eugenie is seen gathering the vegetables in the garden, then that half-hour in the kitchen, such preparation of each of the ingredients for the meal, the vast fire stove, the utensils, the attention given to preparing fish, meats, vegetables, sauces, precision with tastes and the time for cooking…

And, of course, beautiful desserts.  We feel we are there. And there are still more meal preparations to come. And the guests savouring the meals. And a celebration for Eugenie herself.

Obviously, this is a film for audiences who value food, who appreciate preparation and cooking, who have a discriminating sense of taste. For audiences who do not, especially with fast-food habits and taste to match, this film will be a challenge – or, perhaps, too detailed, even boring.

The film was written and directed by Vietnam-born, Ahn Hung Tran, directors of Vietnam themed films like The Scent of Green Papaya, Cyclo. The screenplay is based on a book by Marcel Roufe (1877-1936, drawing on his own experiences of that period). There had been a French movie for television of his book in 1972.

Juliette Binoche has been wonderful in films for over 30 years and brings an extraordinary charm and strength to Eugenie, an older woman, cooking her life, working with Dodin in the kitchen, supporting him in his meeting this with business associates from the area, but not wanting to sit and eat with them though she has strong friendships with them. Dodin is played by veteran actor, also charming, Benoit Magimel.

There is a pleasant subplot, the assistant cook and her younger sister helping out, and Eugenie’s discovery that the young girl is gifted with all kinds of culinary talents, and the desire for her to become an apprentice in the kitchen, her parents initially wary, but the young girl eager to learn.

And for the Romantics in the audience, the gently-pleasing relationship between Eugenie and Dodin, genteel, restrained, and his growing concern about her health.

So, what else can a reviewer say, except that the film is so beautiful to look at, the cast is charming, and the food, preparation, cooking, serving…Parfait!

1. The tone of the English title? The essence of the French title?
2. French sensibility, food, cooking, gourmet? Audience response?
3. The period, 19^th century style, pace, costumes and decor, the mansion, the interiors, the garden? The focus on the kitchen, the detail, the dining room? Eugenie’s room? The musical score and tone?
4. The situation, Dodin, his ability as a chef, cook, social status, his associates, his work in the kitchen, his hosting the dinners, his relationship with Eugenie, in love, the proposals, her refusals, the quiet intimacy between them? The Prince and his visit, the program of the eight-hour dinner? The issue of Eugenie’s health? The staff in the kitchen, the assistant, her niece, the talent, hope for the future?
5. Eugenie, age, experience, longtime cooking, the relationship with Dodin, 20 years, love, refusing the proposals? Seen in the garden picking the vegetables, her work in the kitchen, meticulous attention to detail, with the assistant, with the young girl, appreciating her talent, finalising the meals, their being served, her not joining the guests? Her quiet life, her health, her fainting, collapses, medical attention? Her death? And the final reprise of the end of the film with her being with Dodin?
6. The first 30 minutes, the meticulous preparation of the dinner, so much detail? Audience response?
7. The further work in the kitchen, Dodin and his working with Eugenie, the assistant, the approach to the parents of the young girl, their eventually bringing her, her skills, her ambitions, going to work in the kitchen?
8. The background of the director, Vietnam, his move to France, his sensibilities?
9. For audiences who love food and cooking? The impact for those who tend to be observers than experts on food?

THE 33

US, 2015, 127 minutes, Colour.

Antonio Banderas, Rodrigo Santoro, Juliettw Binoche, Lou Diamond Philips, Mario Casas, Gabriel Byrne, Bob Gunton, James Brolin.

Directed by Patricia Riggen.

The 33 of the title are the miners who were trapped for almost 70 days in a mountain collapse in the desert in Chile, 2010.

This is a re-enactment of the disaster, establishing the happy atmosphere of the men and their families and their village, the going to work, the suggestion that the mine in the mountain is unsafe and authorities rejecting this, the travel to the mountain, the long drive in the vehicle going further down in depth.

The disaster happens fairly quickly, collapse, injuries, the men trying to escape, gathering together, all surviving, going to the mine centre where there is shelter and some food. The film will intercut with the miners, their managing, working together, the issue of food and rationing, some prejudice against a Bolivian, the toll on the long wait.

Meanwhile, on the surface, the focus is on the women, at the fences, not given information, protesting, the group led by a very feisty Juliette Binoche.

Then there is the political response, the president of Chile, Bob Gunton, and his mining Minister, Rodrigo Santoro, humane man, inexperienced, who goes to the site, is confronted by the women, but works to find experts to come in for the drilling. They are led by Gabriel Byrne.

So, there is the intercutting between life on the surface, the establishing of a kind of village for those waiting, the media, the various experts. There is tension, mistakes made, and eventual breakthrough.

However, the ordeal was to continue, attempts to find ways in which they could bring them into the surface, drills from Australia, Canada, the United States, the need for huge magnets from Brazil to move iron blocking the descent. But, in the meantime, the men were provided with food, necessities, moral support, cameras and the ability to talk with their families.

Ultimately, the operation was a great success, the men rescued but, as the film indicated the company not found guilty of negligence, the men not compensated – but the credits sequences showing them, in fact, faces and names, and a final group photo – and the information that many of them participated in the making of the film.

Audiences might like to compare Ron Howard’s 13 Lives and the rescue of the boys from the Thai tunnel or A.J.Bayona’s Society of the Snow, the survival of the Uruguayan football team the crashed into the Andes in 1972.

1. Based on a true story? A few years after the events? Some of the former miners, out of work, participating in the film? World headlines? International collaboration?
2. The setting in Chile, the desert, the towns, the mine, the tunnel, the depths, the roads and vehicles, the rest centre? The president’s offices? The building up of the community outside the mine entry? The musical score, Latin overtones and instruments? The central song and its Cappuccio
3. The setting, the town, the miners, preparing for work, the party gathering, Elvis’s song, happy spirits? The men, wives, daughters, the children? The status of the mine, since 1989, Don Lucho and his concerns, the boss waving them away?
4. The journey to the mine, spirits, the long entry, the drive, the only way out? The image of the receding entry?
5. The work, the minerals, the shifts, the collapses, the rocks falling, injuries, the men escaping, the man hanging over the abyss, the vehicles, the crashes, assembling, the 33 still alive, going to the centre?
6. The drama showing the number of days, the cumulative effect? The men, interactions amongst themselves, friendly, the bigotry against the Bolivian, the issue of the food, limits, Mario as leader, with the key, over the days, controlling the meals, every 24 hours, the limits? The men and their hopes? Tensions, some with nightmares? The passing of the days, the radio not working, headlights?
7. The drama the top, the women and families, at the gate, Maria, her leadership, the earlier seen giving the sandwich to her brother, speaking out, the confrontation with Laurence, getting him to promise, slapping his face, her leadership, everybody staying at the fence, throwing stones, the demands? The reaction of the authorities, the police?
8. The political repercussions, the president and the Minister, the discussions, personal concerns, political concerns? The personality of the Minister, suit and tie, going to the site, the confrontation with Maria? The contact with the companies, Andre Sougarrett, his expertise, the geological aspects, mining aspects, the depths, boring into the Rock?
9. The interactions between Sougarrett and Laurence, hopes, missing out by 10 m, time passing, Sougarrett prepared to give up, Laurence and the talk was Maria, learning by mistakes, Laurence and the proposed solution, Sue Garrett weary, agreeing, the new tactic? Eventually breaking through?
10. The men, hearing the drilling, stopping, hopes, upset, the joy of the final breakthrough?
11. The aftermath, food, clothing, technology, the cameras, the man able to talk to camera to their family? Maria disappointed, waiting for her brother? The boost of morale? The television programs, the journalist, the commentary? The issue of Mario and writing the book and the contract? The men’s reactions, his later reaction?
12. The task of bringing them into the surface, the television series, the Australian solution, the Canadian solution, effective, failing? Bringing in the Americans? The discovery of the iron, the bringing in of the magnets? Able to break through? The long time?
13. The capsule eventually getting through, Alex, age, his wife, pregnant, his going up, the tension with the capsule stuck, the release, his emerging, reunion? The men continually coming up, families? The background of the man with the wife and mistress and her not being allowed into the compound? His wife going off? Maria and her brother, his searching for her, the reunion?
14. The impact the Laurence, his human involvement, the politics, interacting with Sougarrett and the others? With the president?
15. A world achievement, collaboration, technology, rescue, the long time?
16. The postscript with the actual men, faces and names, the information that the company was not held responsible, no recompense for the men? The final photo and they gather together?