Vincent Lindon gives another great, understated performance in Stéphane Brizé's new film, THE MEASURE OF A MAN

While he's played -- and brilliantly --  everything from politicians (Pater) to husbands, sleazy (Chaos) and caring (Pour elle), Vincent Lindon (above) excels as the "ordinary guy," the "working stiff," the "everyman" of France. Lindon got two of his finest roles a few years back via writer/director Stéphane Brizé (shown below) in the great near-love story Mademoiselle Chabon and the end-of-life drama A Few Hours fo Spring.  Now, this actor's actor is back with Brizé again in a film -- THE MEASURE OF A MAN (La loi du marché) -- in which he won Best Actor both at this year's César awards and at the Cannes Film Festival.

This is a stunning movie, but so quietly does it build that it is over before it has fully sunk in. Don't worry, it won't go away, sticking with you long after the end credits have rolled. As the film unfurls to show us the current life of a fifty-one-year-old Frenchman, Thierry Taugourdaud, unemployed and given very bad suggestions and even worse implementations from his local unemployment office, we see nothing less than the state of western society today -- French style. Most of the specifics here travel easily, however: People are but corporate cogs, and it is up to the individual to assure his place, along with the place of those he loves, in the scheme of things.

The filmmaker uses his usual close-in and near-documentary style, but even more so here than in his other films I've seen. This creates a filmed world that seems remarkably like our real one, and Brizé shoots in relatively lengthy scenes that force us to see what is happening on more than merely a visual level. This allows us to experience the pain, fear, enjoyment, anger, embarrassment and all the rest that exist in these usually quiet but often fraught scenes.

We see that Thierry, the Lindon character, exists as a real person, a genuine one who expresses himself and his needs more honestly and directly than do many of those around him. This happens first at the employment office, where he tries to make the person behind the desk understand how the government has quite literally wasted almost a year of his time. Later, during the classroom session using a filmed would-be employment interview (above), we see even more of the genuineness of this man, who is not so gifted at "playing the game."

At home with his loving wife (Karin de Mirbek, above, right) and handicapped son (Matthieu Schaller, below) to whom he seems a kindly, if not overly demonstrative, dad, Thierry is more relaxed than anywhere else. So we relax, too, basking in the time our hero gets to be with those he loves. There's a dance class (to which he most likely goes to please his wife), during which there's an embarrassing but very real scene in which he must dance with the male teacher. Then later, at home, we see the results of this, and they're quite beautiful.

Brizé does not connect all his dots. We move suddenly from one time or place to another, in which we see that things have drastically changed. Now Thierry has a job, and perhaps a pretty good one, as a security person at the local supermarket chain. We witness a really lovely goodbye party for a long-time employee, in which even the "big boss" seems like a relatively good guy.

As Thierry learn the ropes, however, he also learns that downsizing is the order of the day, and part of his job is not simply to catch customers who shoplift but to catch employees who are maybe doing some underhanded stuff, too.  How all this plays out is done in the same low-key/quiet-burn style in which we see and feel what is happening from a number of perspectives: Thierry's, his bosses', the perps/victims. (That's the store manager, played by Saïd Aïssaoui, below, left.)

The constancy of surveillance is front and center, along with what this does to both the surveilled and surveillers. The movie takes its place alongside other fine workplace films -- Mi piace lavorare (Mobbing) and the recent Two Days, One Night -- as examples of the work world and our place in it. The choice Thierry makes is truthful and understandable, though you may also see some alternatives to it. Rocking the boat with political action is one of these, but as we've been shown via an earlier scene, Thierry is more a loner than a joiner.

Brizé does not offer answers, difficult or easy. He simply lays out the puzzle pieces of one man, his family and his employment history, and lets us fill them all in. The result, once complete, is very real not very pretty, but compelling and -- thanks to M. Lindon -- commanding, as well.

The Measure of a Man-- from Kino Lorber and running just 93 minutes, opens this Friday, April 15, in New York City at the Lincoln Plaza Cinema and the new Metrograph. The latter venue, in honor of M. Lindon, will screen four of this actors finer roles this week in the days preceding the film's opening. You can see that Metrograph schedule here.

(I do wish the Metrograph had included Chaos, shown at right, on its schedule, a movie in which Lindon excels, and which also gives us Catherine Frot and Rachida Brakni at their best.) In any case, there are another ten cities on the current film's limited release schedule (as of now). Click here then scroll down to see them all. Here in South Florida, The Measure of a Man will play single screenings at the Movies of Delray (April 17), at the Movies of Lake Worth (April 19) and then a week's run starting May 6 at Miami's Tower Theater.  In Los Angeles. look for it at Laemmle's Royal, come May 20.

In NYC this July, FIAF celebrates that fine French actor, Vincent Lindon, with a mini-retrospective

He's the French "everyman," or one of 'em, anyway. Over the years I've used this phrase to describe a few different actors, but it fits, I think, Vincent Lindon best of all. Middle-aged and usually playing middle-class or working-class, this talented fellow with a mug you don't forget has often been compared to the likes of Jean Gabin (my choice for comparison) or Lino Ventura of a generation past. When I interviewed M. Lindon back in May of 2010, I found him to be the most interesting, talkative and genuine actor with whom I've ever spoken. He was a delight to spend time with. That interview can be found here and here -- separated to coincide with the opening of two of his films that year: Welcome and Mademoiselle Chabon, both of which are part of FIAF's CinéSalon mini-retrospective on the actor, A Salute to Vincent Lindon, which begins this coming Tuesday, July 1.

The actor has now worked with a bevy of directors including Claude Chabrol, Benoît Jacquot, Diane Kurys and Claire Denis, yet some of his finest performances (I have yet to see him give anything but a very good one) has come via directors less known over here, such as Stéphane Brizé, two of whose films are included in this month's series. Another thing: though I've seen almost 30 of Lindon's 66 film appearances, I've haven't found an out-and-out lemon in the bunch. Some are better than others, of course, but I think this fellow has a knack for knowing in which projects he should appear and with which directors he wants to work. I suspect that he also possesses that brand of intelligence that understands how to read and choose a script.

Audiences here in NYC will have the opportunity to see what I mean, as seven of Lindon's movies come to FIAF's Florence Gould Hall this July:

Augustine, directed by Alice Winocour, Tuesday, July 1, at 4 & 7:30pm.

TrustMovies covered this unusual tale -- of a famous French patient and the doctor who "serves" her -- when the film opened theatrically; you can find my review here. For FIAF's info on the film, click on the title, above.

Mademoiselle Chambon, directed by Stéphane Brizé,
Tuesday, July 8 at 4pm.

This is one of my favorite of Lindon's performances, and also one of the finest adult love stories/character studies I can recall. My original take on the film, along with an interview with M. Lindon, can be found here; for FIAF's description, click on the title, above.

Pater, directed by Alain Cavalier, Tuesday, July 8 at 7:30pm

When I saw this clever, comical/satirical take on French politics and filmmaking (among, I think, other subjects, too: ego, fashion sense and food), I missed the first few minutes and so I am going to try to view this one again. My original take is here; for FIAF's, click on the title, above.

New York Premiere!
Anything for Her, directed by Fred Cavayé, Tuesday, July 15 at 4 & 7:30pm.

It is little wonder that we never got to see the original version of this film at the time of its release. It took Britain by storm, but probably because of the overwrought and bloated American remake, The Next Three Days, that Paul Haggis adapted and directed, and which did not succeed theatrically, Cavayé's version was never shown here. Now we know why. So much leaner and more propulsive (96 minutes against Haggis' attenuated 133), Anything for Her (Pour elle), tells us only what we need to know and grabs us for keeps from the first frame onwards. Lindon (who is much better and far less showy than was Russell Crowe in the remake) is the perfect "every-husband" who must find resources inside himself that he had no hint of before events force him into this, while Diane Kruger does a fine job as his unjustly accused and imprisoned wife who lapses into depression. Cavayé's original is so good, in fact, that it practically wipes away any memory of that other dog, so even if you have already seen The Next Three Days, give this one a shot. FIAF's two showings may be the only chance you'll get.

Welcome, directed by Philippe Lioret, Tuesday, July 22 at 4pm.

This beautifully composed and comprised film about immigration and the possibility of change features fine performances and the kind of reality that often slides out of movies that tackle the immigrant experience vis-a-vis those who already live in this "foreign" land. You can read my review of the film (along with an interview with M. Lindon) here; FIAF's description can be found by clicking the title link, above.

Friday Night, directed by Claire Denis, Tuesday, July 22 at 7:30pm.

It's been at least a decade since I've seen Denis' movie (prior to my blogging), and I still think of it as one of her most mainstream and accessible (for the other end of her work, try The Intruder). This tale of a woman, about to make a fateful life decision, who literally and metaphorically opens the door to something new, was also something new for Denis. Lindon is formidable, as ever, and the movie is fun, hot, thoughtful, surprising and, in many ways, so un-Denis that if you haven't seen it, you probably should. For the FIAF description, click on the title link, above.

New York Premiere!
A Few Hours of Spring, directed by Stéphane Brizé, Tuesday, July 29 at 4 & 7:30pm. 

In my interview with M. Lindon, the actor told me that he preferred roles in which he didn't have to talk too much. Well, he's found another one in this second film in FIAF's series directed by Stéphane Brizé.  In it, Lindon plays a man just released from prison, who returns to the home of his mother (Hélène Vincent, on poster, right, and at bottom). Neither have had much to say to each other over the years (she didn't visit him prison), and when they talk now, it's likely to lead to an argument. The same goes for the woman he meets in the local bowling alley (Emmanuelle Seigner, below), and even to some extent with his old friend and neighbor (Olivier Perrier): little talk with the latter, but at least there's no argument.

The theme of the film is the end of life for the terminally ill, and what happens when you choose to end your life, rather than simply allowing it to end you. While the lack of much dialog is believable enough, this does not make for an easy entry into character. The actors are all first-rate, but Brizé keeps us at more of a distance than he needs to, I think -- which was not at all the case with his Mlle. Chambon (see above). How the tale plays out is undeniably moving and also important for us to observe and consider, seeing as how so many of us will be faced with exactly this choice.in time to come.

It's a shame that A Few Hours of Spring was never given U.S. distribution. ("Too downbeat!" someone must have said/) So FIAF's screenings are doubly appreciated. Try to catch it while you have the opportunity. Perhaps Netflix could make arrangements to stream it in the near future.

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About CinéSalon: In the spirit of French ciné-clubs and literary salons, FIAF’s new CinéSalon pairs an engaging film with a post-screening wine reception. Films are shown Tuesdays at 4 and 7:30pm, and every screening is followed by a get-together with a complimentary glass of wine. Each 7:30 screening will be thoughtfully introduced by a high-profile personality in the arts.

All films will be shown at FIAF's Florence Gould Hall in Manhattan. For tickets and other information, click here and start browsing...

Stéphane Brizé's MLLE. CHAMBON opens; Q&A with one of its stars, Vincent Lindon

The exquisite new French film MADEMOISELLE CHAMBON has been co-adapted (with Florence Vignon, from the novel by Eric Holder) and directed by Stéphane Brizé, who a few years ago, gave us the quietly entran-
cing Not Here to Be Loved.  M. Brizé has given us an ever better, though just as quietly entrancing, film -- this time using two of France's best actors at the very top of their form: Vincent Lindon and Sandrine Kiberlain. A movie with minimal dialog, but never obviously so, it relies on the moment-to-moment response of the two actors, who are simply marvelous at expressing their inner selves while appearing to camouflage their feelings.

This deeply-felt film -- about a maybe/almost/not-quite/OK-then affair between two people we come to care about very much --  is filled with widescreen images of both nature (including us humans) and commerce, life at home and at school -- all of it full of the occas-
ional jogs of surprise that reality, when captured in a good enough approximation, will offer. Other than what he shows us moment-to-
moment, Brizé, seen at right, drops only the barest hints of any background (the title character's family, for instance) but those few prove quite enough to help create a full character who, as portrayed by Ms Kiberlain, remains as vulnerable as she is mysterious, right through to the very end.

One of the most precious gifts of Mademoiselle Chambon is the way in which it rises above conventional morality and traditional values by first honoring these quite genuinely but then giving priority to the individuals and their humanity. Post-press screening, I -- and it seemed, many of my peers -- found the film particularly worthwhile. I think you will, too. We can all be grateful to Lorber Films for picking this one up for distribution.  It opens this Friday, May 28, at New York’s Lincoln Plaza Cinemas and Cinema Village.

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TrustMovies was able to interview Vincent Lindon during his time in New York for the FSLC's annual Rendez-vous With French Cinema this past March.  Portions of this interview were posted last month when Lindon's film WELCOME opened in New York.  But as much of the talk centered around Mademoiselle Chambon, it seems appropriate to run these again, along with the new material.  Below, TrustMovies' questions appear in boldface, while M. Lindon's answers are in standard type.

I’ve seen about 15 of your films over the years -- I know you’ve made a lot more than, but I don’t think we’ve been able to see them over here – and one thing that has impressed me about Mademoiselle Chambon is how little dialog you sometimes have. So much is expressed via face and hands and movement. And even though you often play a working man, you show amazing delicacy.

Yes! But have you noticed how, in real life, when you are in love, or when you are very angry with someone, there are no words. I remember – and I suppose it is the same for me and you and a lot of the people on the planet: After the first kiss, it happens that you feel like you are going to fall in love. Afterward, we want to put our head on the shoulder of each other. We can sit like that a long time because we, we really don’t know what to say. It is as if we do not know the words, so we just want to stay close like that. Until we know what to say, the longer we are like this, the better it is.

When we are doing an angry scene, it is the same. We may go two or three minutes between the same sentence. We may shout, but we also can sit very still, and angry, or we stand up and walk and we pick something up from the desk and (Lindon begins giving me a visual demonstration of all this) and we just do this, all without words. In movies, sometimes -- say a movie is 1 hour and 45 minutes – well, we cannot stretch the time, because if we do it as in real life, that scene is going to take 25 minutes.

And it would bore us to death.

Yes! So very often we don’t speak. Sometimes, in a restaurant, two persons don’t say anything for even two or three minutes. And that is what the director wanted to do in the movie. I remember when the director told me at the beginning of the movie: Imagine she is Russian and your are Swedish. And the only three words you know together are yes, no, and thank you.

So you did this going into the movie?

Yes, and so everything then goes by the eyes, and by how you move, because there is no language.

But you are also very good when you have to use words. I’ve seen you in several movies where you use a lot of words.

Yes, but I prefer now, getting older and older, I prefer not to speak. Just to be. I don’t know the word in English: In France, we say Incarner. (To embody, to incarnate)

As to “incarnate” the role?

Maybe, yes! I don’t like to play a role. I like to be the role.

I am probably not the first to say this, actually the NY Times said it, too. -- but I said it first on my blog! -- (Lindon laughs) You seem to me to be the one actor who could take on the mantel of Jean Gabin. Do they say that in France?

Yes

So I am not the first.

But in the United States, you are the first!  And I very proud to do this. I love Jean Gabin. I love him. I love Robert Mitchum. There are very few that I am crazy about. James Cagney! I love him, too!

Oh, yes, you do remind me of Cagney! I wonder, do you sing and dance, as well -- like he did?

No. But I do love James Cagney. And I hate Humphrey Bogart.
I hate him. I know him, and I do not like his movies. The real one for me is James Cagney, then Edward G. Robinson. But Humphrey Bogart is very far away from them. I also love Cary Grant. …. There is not so many actors that I dream to be like.

That’s plenty – you’ve named a lot of good actors.
When you read a script and then you actually film the movie, are you often surprised at the result on the screen.

No. It is very often exactly that, with a little bit plus or less. But it is what I expect.

I am probably guessing here, but is this because the French film industry is more closely knit, with a little bit better communication between actors and between actors and directors?

Yes, Oh yes. We speak a lot. We get lunch and dinner together and speak on the phone and go with the children on Sunday for a walk -- for three, four five months before shooting. And the director is on the set and not in some van with 25 screens. No, it is very human. We don’t even have the money to have a big van with 25 screens. Sometimes we go in the same car to go back in the house. Sometimes we even drive each other. Or I say, can you drop me at my house? It’s very…

Close?

Yes, and when I go back to my house, and if I want to call the director at night at 10pm, then I call the director. It’s not like here in American: We only have 12 hours to play and if you want to tell me something, you have to call my manager. I am not saying that it’s better or not better. But it is more… French.

For example, I met Ridley Scott in Cannes, when he was about to do a new movie: Last Year in Provence with Russell Crowe. I did not want to do this movie, but after we spoke for half an hour, I really liked Ridley Scott. So I went up to the office, where the casting director said to me, “Oh, Vincent, can you read the script quite rapidly, and then you call me back and tell me if you like it, or if you have some things you don’t feel good with, and then I will say this to Ridley. I will give him a report. And I said, What? You will speak to Ridley for me. I cannot talk to him myself? So she tell me, No. But before the shooting in Provence we will make a big reading, and then after, Ridley can see each actor for 15 minutes, in which to talk. I thought, you are fucking crazy: I get 15 minutes with my director? No, no: If I do a movie with Ridley Scott, I want to speak with my director when I need to do this. I want to speak with him, I want to know about his wife and children. I want to know if he prefer red wine or white. If not, I don’t do that job. I prefer to be baker or lawyer. I don’t care. And Russell Crowe: I will see him for just ten second before action, and five seconds after the cut. Russell Crowe in the US is not more than I am in France. You put me in the United States and I will be Russell Crowe.

Now, I love American movies, but what I think it that it is too difficult for me, a European guy to work in the U.S.

Maybe this is why most European stars do not translate to American films that well?

To make an American film, you are obliged to speak English very well. Even then, the most you can hope for is to get a part where you play the lead and must play a Frenchman. You do this once, and then you go back. I would like to be able to speak English like an American guy because there are a lot – a lot – of American directors I would like to work with: Scorsese, Woody Allen.

In looking through all the movies of yours I have seen, one that impressed me a lot was Chaos.

Yes.

In that one you play a villain role, but you never really play a villain role because you always make the man better than that. And when you play a hero, he’s is never quite a hero, because you always make him less, and more real. (Lindon nods, yes) Also, La Moustache, too. Was that a difficult film to make. Did you know what was going on in that movie?

No. Nobody did.

Good, because we didn’t either. But we enjoyed it.

I loved the script, but I am not able to tell you something about that script. Just, just that I know I like it. It is like when you are standing in front of a painting, and you like it, but maybe you don’t know why.

You have worked with Emmanuelle Devos several times, too. Those Who Remain, the film you did with her, was another really, deeply- felt movie

Ahhhh. Yes, and I go back to Paris tomorrow night, and I start shooting another movie with Emmanuelle!  My third one. I love her!

All photos in this post (except that of M. Brizé) 

are from the film Mademoiselle Chambon.