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TV : "Frantz ", François Ozon keeps the emotion at a distance

Our choice of the evening. The maker of the film was shot in German and in black and white to divert the subject of "The Man I killed"), Ernst Lubitsch (on Canal+ Cinéma at 20 h 50).

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Our choice of evening. The maker of film was shot in German and in black and white to divert subject of "The Man I killed"), Ernst Lubitsch (on Canal+ Cinéma at 20 h 50).

Film on Canal+ Cinema 20-h 50François Ozon, who loves nothing so much as to put his style cold and his gaze acid-proof forms and various topics, focuses here on a coin of Maurice Rostand, passionate advocacy of pacifism written in aftermath of first world war, which was brought to screen by Ernst Lubitsch, 1932, in The Man I killed. And this with idea of diverting radically about.

The film opens on a small town German bereaved by war, where a young girl (Paula Beer, beautiful revelation) blooms each day tomb of Frantz, her dead lover in front. She spends rest of his days consoling those who should have become his parents-in-law, and who regard it as ir daughter. The arrival of Adrien, a French soldier just discharged (Pierre Niney), who presents himself as a friend of Frantz, is going to bring back joy in bringing back to life gone through records he made of ir friendship while stoking, neighbourhood, leaven of hatred and anti-French.

Shot in black and white (with arise false color), Frantz was taken almost verbatim scene from film Lubitsch but, instead of adopting point of view of French soldier, he stands on side of German family. After a reaction of defiance, parents of deceased and young girl let mselves be enchanted by stories of this angel fallen from heaven, that has so much to do with one that was his friend that it comes almost to take its place.

In this history devoted to origin to promote reconciliation between peoples, and that it extends by a part invented, François Ozon is interested in mechanics of belief and self-deception, at expense of fantasy rushing into non-said, in shifts of points of view, timing, language, culture, social class... If he is still interested in gap between what shows itself and what is cache, dizziness liberating that induces in individuals subversion of norm, it forwards here to story of powers of mystification in which he has long invested in its characters : Marina Vacth in Young and Beautiful, who led a double life of high school girl model and call girl, Romain Duris in new girlfriend, who is déguisait secretly as a woman, not to mention that se two films. False tracks, chausse-trapes, everything seems to be good for turning audience crazy.

Breath melodramatic choked

These reversals of perspective can help you refine, by digging into mystery, paint on psychological of two main characters – whose delicacy resonates with that of tables German romantics that inspired some of scenes. In Face of Anna, integrates and enthusiastic, which made learning of loss, love and betrayal, Adrien proves to be sensitive but ambiguous, although we do not know ever really what – neuroses of its large middle-class family or atrocities of war – has undermined strength of his character. In spite of fabric ample and fiction of narrative, breath of melodrama is muted by stage distanced from Ozon, that doubles texture icy of digital image. It is necessary to wait until end of film, when Anna is contemplating a painting by Manet depicting a suicide, to see emotion break through.

Frantz, François Ozon. With Pierre Niney, Paula Beer (Fr., 2016, 113 min).

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