Paris Can Wait

Movie Score: 0 out of 5 (Horrible, avoid at all costs)

Cast: Diane Lane, Arnaud Viard, & Alec Baldwin

Writer & Director: Eleanor Coppola

Synopsis: Anne Lockwood (Diane Lane) is the wife of busy movie producer Michael Lockwood (Alec Baldwin). The couple are at the Cannes film festival and have to travel to Budapest for Michael’s work. Anne suffers from ear-ache and decides to meet her husband on the next leg of their trip in Paris. Michael’s partner, Jaques, offers to drive Anne to Paris and she accepts. The pair depart from Cannes, but fail to reach Paris as speedily as Anne desires because Jaques takes her on multiple side trips to his favorite restaurants and villages.

Paris Can Wait reveals that greatness in filmmaking is a non-transferable asset through marriage. Eleanor Coppola (wife of Francis Ford Coppola) failed in her endeavor to emulate the romantic magic of a Nancy Meyers’ film. She set herself up well with a romantic destination (small villages in rural France), the possibility of an unhappy marriage, and a doting goof to woo the leading lady’s heart (Jaques). Despite selecting the correct trappings of the genre, Coppola fails to correctly execute the motifs.

For example, normally in a love triangle, the female lead is unhappy in her relationship because her husband/partner neglects her. Once she meets the hero, he wins her heart through acts of kindness, humor, and sex appeal. However, only one of these things occurs in Paris. Michael Lockwood ignores Anne at the beginning of the movie. However, he does not mistreat her to the extent that would justify to the audience her leaving him. Michael’s greatest sins occur when he overlooks the fact that Anne’s ear hurts and takes a phone call when she is talking to him. True, such behavior is a little rude, but after the first ten minutes, Michael ends all such negative conduct. Even though he’s in Budapest on business, he calls her several times in two days, asking about how her ear feels and her trip with Jaques thus appearing like a caring husband. If Coppola wanted the audience to root for Anne to leave Michael for Jaques then she needed to make Michael more unlikeable.

However, the worst part of the film is not Michael as a “bad” husband, but Jaques as the film’s “hero.” Jaques lacks charm, looks, and tact. Really, he is just a creep. During a ride through the countryside the couple suffered from one of many uncomfortable silence. Anne tries to break it by playing the beloved car game, I Spy. She says, “I spy something with four legs.” They had just passed a herd of cows, so obviously she meant cows. In response, Jaques puts her hand on Anne’s leg, and as she tenses, he says, “I spy something with two lovely legs.” She tries to laugh it off, but I could only cringe as Anne had no where to run and no one to save her. Sadly, the creepiness doesn’t end there. During one meal, early on in the movie, while talking about Michael and his busy production schedule, he asks Anne, “Are you happy?” Flustered, she cannot answer because he blurts out, “Is your husband faithful?” These two characters do not know each other well besides Jaques’ business partnership with Michael , so this question is horribly inappropriate. Later in that same meal, he continually refills her wine glass. His intentions become so obvious that Anne even asks, “Are you trying to get me drunk?” Jacques just shrugs his shoulders, offering no verbal answer which connotes a silent “yes.” People should boycott this movie for this scene alone.

To add to the pile of garbage that is Jaques, throughout the movie he fails to pay for their five-star meals, stating that he lost his credit card. While he does repay her at the end of the movie, he continues to take her to fancy restaurants while making her pay for them.

The restaurant ordeal brings me to my final point: Anne had no agency. Wherever Jacques wanted to go, she had to acquiesce to his desires. He had the car, he spoke the country’s language, and knew his way around. Anne possessed none of these things. After accepting his offer to drive her to Paris, Anne made no decisions for the next half of the movie. In fact, she continually implores him, “Please, no more stops till Paris.” Yet Jaques continues to stop since “Paris can wait” even though Anne just wants to get to Paris. In most romance movies, the lead has the ability to choose between her man and the hero. Coppola affords Anne no such choice.

The final nail in this movie’s coffin occurred at the end. When the two say their goodbyes, Jaques turns to her and tells her, “I made a bet with myself… that I would not make an advance on you.” I laughed out loud. Throughout the movie, every time they were in the same room, he made advances on her and most of them unwanted. During the last fifteen minutes, Anne magically starts taking control and looking fondly upon our fat and tactless French hero. The audience is supposed to believe that Anne turned a corner and started to “stop and smell the roses” (her favorite flower). But I believe Coppola must have reread her script and realized Jacques was a goon and she gave Anne no agency so she tried to rectify it. However, her late alterations made the movie more fake than romantic. You can hear the movie’s falseness in Anne’s laugh. She filled it with empty the “ha-ha” that we give someone who is telling us a factoid that we don’t give a damn about.

Do yourself a favor and go see Wonder Woman instead of this pile of shite. For trailer, see below.

Target Audience: Old people with nothing better to do than waste 90 minutes on a stormy afternoon.

By Hagood Grantham

 

The Red Turtle

Movie Score: 5 out of 5 (Classic)

Director: Michaël Dudok de Wit

Synopsis: An allegory of family, nature, innocence and more, The Red Turtle revolves around an unnamed man who becomes stranded on island which refuses to let him go.

The Red Turtle’s plays on the saying ‘no man is an island’. Life, its value and its purpose, stem from our connections with the world, and our loved ones. The life and identity of the unnamed man before being cast away are never revealed. At The Red Turtle’s beginning, he bursts from the water amid a dark storm. Devoid of anything, the man’s arrival on the island is his rebirth, from which he begins to adapt to the island, until one scene where he falls asleep, slowly forming the shape of the mountain which peaks the island.

The man becomes part of the island, and the island becomes the world. The Red Turtle lets us witness the cycle of life with an intimacy of a documentary, as scenes focus upon the rainfall in a monsoon, birds flying in the dusk, or the havoc of a storm. The island’s wildlife being to react to the man, adopting the air of children. The wildlife and its behaviour endears us the island providing levity, but also emotional impact, when the harshness of life bears down.

Director de Wit years of effort to create The Red Turtle has forged a masterpiece which requires little dialogue to connect us with the unnamed man’s trials and tribulations. Instead, de Wit uses the island itself as a series of props to convey emotions and ideas to us, alongside eerie dream sequences and the haunting lullaby soundtrack. De Wit’s spartan art style, blending Asiatic economy with a European colour palette, renders the vibrant island alive.

The Red Turtle, which was eventually backed by Studio Ghibli, epitomises the power of animated film. The genre is as profound and provocative as other forms of cinema and can be appreciated by adult audiences. This is a beautiful film which will stay in your eyes and your mind long after viewing as you ponder of its meaning. That being said, The Red Turtle is not a film for children. At times my attention wavered, and when viewing it at the Southbank in London, the bulk of the audience were in their 30’s or older. For parents looking for a good animated film for children below 14, I recommend Belleville Rendez-vous, which is below and a favourite of mine.

I have said little about the film’s plot for fearing of spoiling the story.  The trailer for The Red Turtle is below, but I would strongly advise you to not watch it before viewing the film. Having only watched the trailer after viewing the film, it is a better experience The Red Turtle blind, allowing the twists and turns to have their full weight.

Do watch de Wit’s earlier short film, Father and Daughter, before viewing The Red Turtle. It is linked below the review and acts as an indirect and helpful prelude to ideas and themes in The Red Turtle.

By Saul Shimmin

The Red Turtle Trailer

Father and Daughter (full-film)

 

Belleville Rendez-Vous trailer