World War II France, the Holocaust, and Marguerite Duras combine in Emmanuel Finkiel's exceptional MEMOIR OF WAR

Marguerite Duras was certainly among France's most fascinating modern writers -- in terms of both her work and her life, the latter of which spanned 1914-1996. She was a prolific writer, with many of her works brought to the screen, and she was also a filmmaker of some note and even an occasional actress. Of everything TrustMovies has seen by her and about her, however, perhaps the strongest so far is the new film MEMOIR OF WAR by French filmmaker Emmanuel Finkiel, which, in its original French title, La douleur, translates simply as "the pain."

M. Finkiel (shown at right) has made a small but resonant work of art that manages to simultaneously capture a slice of World War II France under Nazi control; a very good sense of the kind of impressionistic writing at which Ms Duras sometimes excelled, as well as something of her difficult but decidedly bracing character; and most especially, I think, a clear-eyed look at the pain caused by the Holocaust -- by focusing not on the victims themselves but rather on those family members and friends who hoped against hope that their husbands/wives/ children/friends/lovers had somehow survived.

Though the star of this film is Mélanie Thierry (above), who is giving here the performance of her career (so far), for me and from this point onward, the face of The Holocaust will probably be that of the incredible actress, Shulamnit Adar, shown below, who has a major supporting role as the Jewish mother who awaits news of her handicapped daughter taken from her early in the Nazi's despicable war on humanity.

Ms Adar has a face that seems to register multiple feelings at once, each of them strong and true. What she goes through here and how she does it should imprint on your memory indelibly. The plot, such as it is, goes back and forth in time and involves Duras' husband (her married name was Antelme), his disappearance, her affair with his best friend Dionys (Benjamin Biolay, below),

and her having to chat up (and perhaps do a lot more than that) a French collaborator (Benoît Magimel, below) who may or may not be able to offer help to her imprisoned husband. The tale, as such, might not seem like much. But the manner in which the filmmaker chooses to tell is very much in keeping with the Duras style: impressionistic, elliptical, full of hesitation and the kind of self-condemnation that can easily double as self-exoneration.

Finkiel, who adapted Duras' autobiographical novel as well as directed, makes such excellent choices in terms of how much to show and how much to leave unseen, and he draws terrific performances from his cast, especially from Ms Thierry, who, as good as she has been elsewhere, has never had a role this encompassing and demanding.

How Finkiel weaves all this together so artfully yet provocatively is pretty close to brilliant. Memoir of War takes its place in the front rank of films about WWII France, the Holocaust, and a woman's sacrifices and needs.

From Music Box Films and running 127 minutes, the movie opens this Friday, August 17, in New York at Film Forum and The Film Society of Lincoln Center, and the following Friday, August 24, in Los Angeles at Laemmle's Royal, Playhouse 7 and Town Center theaters and elsewhere, including here in South Florida at the Coral Gables Art Cinema in Miami. Over the weeks and months to come, it will play all around the country. Click here, then click on THEATERS on the task bar halfway down the screen to view all currently scheduled playdates, cities and theaters. 

Olive Films' new Blu-ray of Preminger/Kellogg TELL ME THAT YOU LOVE ME, JUNIE MOON

Otto Preminger's reputation as a mini-tyrant may have somewhat over-shadowed that of his reputation as a major filmmaker, and while his work, overall, was hit and miss, certain of his movies -- from Laura through Anatomy of a Murder -- have stood the test of time very well. One of his later efforts, TELL ME THAT YOU LOVE ME, JUNIE MOON, from 1970, seemed (and still does) such an odd choice for this often ground-breaking-in-terms-of-subject-matter movie-maker that even film buffs like me tend to forget that Preminger (shown below) was at the helm. Also, the movie flopped critically and at the box-office and so was promptly relegated to the forget-about-it bin.

Based on the 1968 best-seller of the same title by Marjorie Kellogg, who also penned the screenplay, the story tells of three social misfits who meet in a rehab hospital, bond, and decide to make their way in the outside world together. Admission time: TrustMovies knew and became a good friend and neighbor of Ms Kellogg and her long-time companion Sylvia Short in Manhattan in the early 1980s. He'd read the original novel on which the film was based but didn't see the movie during its theatrical release and by the time he'd met Marjorie, the film had disappeared from view.

The "Junie Moon" movie has also never appeared in disc format on either DVD or Blu-ray. All of the above makes its current release by Olive Films something rather special. And while the movie is no great shakes as filmmaking, it does offer a good deal of positives to recommend, starting with the very fine performance by Liza Minnelli (above, left, and below) in the title role, as a young woman whose face has been permanently scarred by a crazy would-be boyfriend (Ben Piazza, above, right) who feels "spurned." (Among the movie's many ironies is the fact that the guy was not being spurned; Junie was simply behaving honestly, if a bit heavy-handedly).

What was ground-breaking about this film (leave it to Mr. Preminger, of course) was that, so far as I can recall, this was the first film to show a movie heroine's scarred countenance so up-front and in-your-face. Preminger, Minnelli and Kellogg conspired to make us keep looking at until we could finally understand something from which audiences and the general populace would prefer to look away. And of course, in the end, we get used to it, accept it, maybe even almost "appreciate" it. We can, at least, as do the other characters here, look beyond it.

At the time of its release, the film's director was accused to not being able to find the right "tone." I don't think so. Rather, most critics and certainly audiences of this time were not ready to deal with a tone that wasn't full-out sentimental when dealing with "problemed" people like these. The other two "misfits," played by Ken Howard (below) and Robert Moore (above), are, respectively, an epileptic mis-diagnosed as mentally deficient and an acerbic young homosexual who has evidently never heard of the closet (or is simply unable to keep himself in it).

The three do indeed form that bond -- they are joined by James Coco as the town's helpful fish monger -- and it is strong enough to carry the movie home, despite some missteps along the way. Minnelli, Moore and Coco are terrific. Only Mr. Howard, in both the character as written and the performance he gives, is too bland, lacking much specificity. Kay Thompson, too, is crackerjack, as the wealthy and bizarre owner of the little house they rent who tries to get the Moore character walking again via pure will-power or faith (maybe she's a Christian Scientist?)

Preminger guides the film along, keeping sentimentality mostly at bay. Only the finale, with what seems rather like an unearned demise, smacks of  too-much. And for a film in which so many of the characters are oddball, the movie stays on track and doesn't continually swat us with cutesiness and moral tips, as does the recent Israeli clunker, Is That You?  Preminger does fall for the need to strut his stuff by giving us, in the flashback scenes of the orphanage into which the Howard character is thrust as a child, weird camera perspectives and color-draining that come off more "arty" than necessary.

Granted, when I sat down to watch, I wasn't expecting much. But when I got up, post-viewing, I felt surprisingly fulfilled -- especially at seeing Ms Minnelli working at full steam and creating one of her fuller and most believable on-screen dramatic characters (in a non-musical, at least: Cabaret is still her triumph).

Running 113 minutes, the movie has been given a so-so Blu-ray transfer by Olive Films. (I am not sure from what kind of materials the transfer was made, but the quality looks somewhere between a good videotape and a DVD.) It hit the street earlier this month and is available now for purchase  (you can order here or elsewhere) and I would hope for rental, too. Netflix, which should offer it, does not -- as yet.

Walter Salles tackles Kerouac's one-of-a-kind ON THE ROAD -- and mostly triumphs

It has been decades since I read On the Road, one of the most unusual American coming-of-age tales ever written (I didn't even think it as part of that genre until just now). The novel is, as well, one of the great American road trips, quests, and expansions of our ideas about love, sex, friendship and religion. Did I appreciate it at the time of that first read? Only somewhat. Shit -- it was too scary! And counter to just about everything this poor, sheltered, Christian clod had been brought up to believe.

Around that time, I recall rumblings about a possible film version, which made me (and many others) say that this novel was "unfilmable." How could we imagine otherwise, considering what Hollywood had done to Jack Kerouac's later The Subter-raneans? And back then, in terms of American movies, Hollywood was the only game in town. (Well, there was John Cassavetes, and though they were both counter-culture in their way, I don't picture Kerouac and Cassavetes melding creatively, expansively, emotionally, interest-wise or most other ways. Do you?)

Now, 55 years after its initial publication, the movie version of ON THE ROAD is finally here -- directed by the smart and talented Brazilian filmmaker Walter Salles and adapted from Kerouac's novel by José Rivera -- and if it's not the be-all-and-end-all, it is a valiant and often on-the-mark movie that captures Kerouac's period, places and people with skill and depth.

Casting is important to most movies, but here, given the iconic characters that fill the book, getting it right is vital, and Salles and his four -- count-em! -- casting directors (click and scroll down) have done a bang-up job.

If it seems odd to cast a Brit (Sam Riley, above, with Alice Braga) as leading man/narrator/Kerouac stand-in Sal Paradise, the author himself was born Jean-Louis Kerouac of French-Canadian parents. Riley, as usual, does a fine job, but it's Garrett Hedlund, below, as Dean Moriarty (the Neal Cassady stand-in) who surely seals the deal with his indelible portrayal.

Hedlund (above, and that's right--he's the kid from TRON: Legacy) has grown up some, and he captures the easy-going sexuality, sensuality, charisma and mystique of Moriarty/Cassady about as well as I can imagine this being done by anyone. Bi-sexual but probably more inclined toward the gals, the character can't be pinned down for anything, breaking hearts as a matter of course -- including, it seems Kerouac's, even though the relationship supposedly never got past heavy-duty friendship.

Nonetheless, the scenes between these two characters, as portrayed by Riley and Hedlund, simply vibrate with alertness, desire, tension and specificity. It's thrilling to watch them -- and the rest of the enormous cast, all of whom find the specifics in their roles, no matter how little screen time they get.

In addition to the wonderful "look" of the movie -- capturing the 1950s so well without that undue calling attention to "objects" that some period films fall back on -- it's this almost constant electricity created by actors who seems utterly jazzed by the opportunity presented them ("We're finally bringing On the Road to life: How about that!") that makes this movie so alive.

That huge cast includes everyone from Kristen Stewart (two photos above) and Kirsten Dunst (just above) to Vigo Mortensen (below) doing a dandy job of bringing William Burroughs to visual and audio life.

Amy Adams, Elizabeth Moss, Tom Sturridge and Steve Buscemi are just a few of the terrific actors on view, and yet so attuned is each to his/her character and so well does the screenplay and direction make use of them -- and so truly bizarre are many of the folk shown here -- that we get not a whiff of the silly "cameo role" nonsense that something like the original Around the World is 80 Days offered up.

Purists who have their mind set as to there being but a single way to portray their favorite character(s) may find fault with this "Road." But for those of us willing to open up, experience, and live with these characters awhile, the rewards are ample.

So, yes, they really did it. They brought On the Road to the screen at last. And the 1950s -- the era one might see as the first to introduce a genuine alternative life-style to America in an even remotely major way -- lives again in all its scary attraction and weird, scuzzy beauty. The movie, from IFC Films and Sundance Selects and running 124 minutes, opens tomorrow, Friday, December 21, in New York City at the IFC Center and Lincoln Plaza Cinemas and in the Los Angeles area at the Arclight Hollywood and The Landmark. It'll be all over the place, come January 2013.

The photos above are from the film itself, 

except that of Mr. Salles, which is by Mike Coppola, 

courtesy of Getty Images.

Those "buttons" pop off again in Christophe Barratier's remake, WAR OF THE BUTTONS

At least the fifth rendition, movie-wise, of the famous French novel La Guerre des boutons -- written in 1912 by Louis Pergaud, a young writer who died three years later fighting for the French during World War I (his death is a study in the ironies of wartime) -- this latest endeavor is but one link in a chain of novel-into-movie-after-movie-after-movie. TrustMovies imagined that an earlier film had been made prior to Yves Robert's 1962 version, and sure enough, there was one: La Guerre des Gosses (The War of the Kids) in 1937. Then the Irish made their own remake in 1994, and last year the French rebounded with two Wars, both released nationwide in France, one just seven days after the other. Surprisingly enough, both did decent box-office business.

The first of these two was directed by Yann Samuell, who earlier gave us the odd, dark and sprightly Love Me if You Dare. I have the sinking feeling we shall never see M. Samuell's version here in the USA because the second of the two newest Buttons, and the film under consideration here, has been picked up for U.S. distribution by The Weinstein Company and opens tomorrow in New York City and Los Angeles. Its director/adapter Christophe Barratier (shown at right), who earlier gave us smart, appealing crowd-pleasers like The Chorus and Paris 36, has accomplished pretty much the same thing with his latest film.

As director and co-adapter (with Thomas Langmann and two other writers), M. Barratier has set his War in the midst of another war -- World War II -- and this has both its benefits and one major draw-back. Three of the remakes -- Samuell's, Robert's and the Irish ver-sion all set their film in the 1960s, which was also Robert's current time frame, while the 1937 version, unseen by me, probably takes place in some time period between the novel's original and the year the film was made. Setting this story -- of gangs of kids from nearby and competing villages who engage in a "war" in which buttons are removed from the opposing gang's clothing as "victory trophies" -- in our current times, these kids' "war" would probably result in the kind of mayhem and misanthropy found in Battle Royale or The Hunger Games.

On the plus side, Barratier's movie is well-cast and acted (the wonderful faces of the kids register individually and strongly: that's the adorable Clément Godefroy, shown center), beautifully filmed in the French countryside, and the element of the Nazi overseers, even though we barely see them (the French needed little push to do the German's bidding) adds some suspense and gravity to the situation of the children's own little "war." The down side of all this comes from Barratier's pandering to his home audience by making nearly everyone in the small town either a Resistance fighter or someone remarkably quick to rise in defense of Jews. As feel-good as all this proves, you'll want a taste of Sarah's Key or the upcoming La Rafle in order to get your bearings on reality again.

In the leading roles, kid-wise, are one newcomer Jean Texier (above, right) as the "good" gang's leader, Lebrac, who proves a natural, versatile actor whom I am sure we'll be seeing soon again, and the more seasoned pro, Ilona Bachelier (above, left), as the new-girl-in-town he gets to know.

Adult roles are taken by the likes of Guillaume Canet (above, left, and for the first time looking fully an adult) as the town's teacher, Laetitia Casta (above, right, as his stand-offish enamorata) and Kad Merad (below) as Lebrac's dad.

They're all just fine, and if this latest War of the Buttons reeks of guilty pleasure, so be it. Hell, Americans can probably enjoy it even without the guilt, since we don't need to believe that every second Frenchmen joined the resistance. The movie opens tomorrow, Friday, October 12, in New York City (at the Angelika Film Center), in Los Angeles at Landmark's Regent Theater, in San Francisco at the Bridge Theater and in Berkley, CA, at the Shattuck Cinemas. A nationwide limited release will follow.

Mona Achache's THE HEDGEHOG, with Josiane Balasko, proves a mainstream-arthouse must-see; Q&A with the actress

THE HEDGEHOG -- a must-see movie for the foreign film crowd that delights in unusual tales and situations, along with rich characterization -- has been adapted and directed from the popular Muriel Barbery novel and stars French treasure Josiane Balasko as a dumpy concierge of a high-end building filled with rich twits, one smart little girl, and an exotic new Asian tenant. Filmed with elegance and savvy by Mona Achache (the fledgling, full-length filmmaker is shown below), the movie is a classy, literate, mainstream dream that gives you everything: laughs, tears, charm and -- best of all --  the unexpected.  Whatever the rest of us critics have to say, I would call this one, based on the extraordinary word-of-mouth I expect to see building, a shoo-in for foreign film/ mainstream-arthouse popularity.

When the movie made its New York debut nearly two years ago (during the 2009 Rendez-vous with French Cinema festival), I said pretty much what appears in the above paragraph, so today, I'll elaborate, having viewed the film a second time and enjoyed it just as thoroughly as the first. One thing I did not mention earlier -- along with all the charm, laughter, tears and surprise -- is what a very good story Ms Barbery tells (whose novel I have not read), and how Ms Achache has managed to distill it into just 98 attention-grabbing minutes.

First of all, there's a little girl -- a very smart one -- who has had it up-to-here with her ditzy family. This could be yet another in the long procession of clever, adorable little movie-heroines who... grate. But thanks to a marvelously intelligent and real performacne by Garance Le Guillermic (above), that "rubbing-you-the-wrong-way" factor is just about zero.

Real French film buffs will need no introduction to the movie's star, who gives another in a long line of fine performances. Josiane Balasko (shown above) is, deservedly, a national treasure on the other side of the Atlantic, but because she's no hot, sexy "looker" in the mode of most female "stars" that make any dent in in the U.S. consciousness, she's known here, if at all, only to those of us who follow French film more closely. Often very funny (she got her start -- see interview below -- doing comic cabaret), she's equally able to  break your heart or scare and/or depress you. (I wish her film Hanging Offense (Cette femme-là) would get a belated release in the USA.) In The Hedgehog, as the concierge of the building, she plays a widow who expects little from life and who slowly -- but quite truthfully -- begins to open up, with a little prodding from friends and circumstance.

The other key role is played by Japanese actor Togo Igawa, who, with nearly 90 performances to his credit, -- including everything from Topsy Turvy to Eyes Wide Shut and TV series from Torchwood and Primeval to Chancer and The IT Crowd -- you will surely recognize. The is his best role in a very long while, and he makes the most of it -- bringing to life his quiet, gracious character beautifully.

Other French stalwarts such as Anne Brochet (shown below, left), Ariane Ascaride (shown above, right, with Ms Balasko) and Gisèle Casadesus make appearances, too -- all handled by Ms Achache with economy, flair and control. That a first-time filmmaker should be given a property this big and important speaks surprisngly well for the French film industry and its producers, and especially, of course, for the filmmaker herself.

The Hedgehog, from NeoClassics Films Ltd., opens today here in New York (at the Lincoln Plaza Cinema and the Angelika Film Center) and California (in L.A., Pasadena, Encino and Irvine). Click here, then scroll down to see all playdates, cities and theaters (around 50 of 'em!) scheduled over the next few months.

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Josiane Balasko is every bit as down-to-earth, real and ready to answer questions as you might expect. We met with her and a translator (used mostly for the occasional idiom in play) at the Cassa Hotel, just off Fifth Avenue during her short stay here last month. In the following exchange, TrustMovies appears in boldface, and Ms Balasko in standard type.

I have beeen a fan of yours since, well, it seems like forever. I’ve think I’ve been a fan since before I even knew who you were. I would see you on screen, and then I’d think, “Oh—It’s her again!"  (Josiane laughs heartily – and what a laugh she has!) You know, you have been something of a staple at our yearly Rendez-vous with French Cinema.

(The translator explains the word "staple" to Ms Balasko, who shakes her head, yes.)

First question: Since you have been in this industry as actor, writer, director, even producer – right?

Yes

Well, how is a first-time director like Mona Achache able to do a movie as important as The Hedgehog – that’s something that probably wouldn’t happen here.

The director has two shorts before this, and she tried, for a long time, to do this movie. First she convince the producer. “I want to be the director, I want to be the director!” and finally she was allowed to meet the author of the novel. And finally, she convince even her!

It’s a good thing, too, since she did such a good job, as did you, and all the actors.

Yes, everybody got the right face.

That is pretty rare for a first film.

Yes, I know. (We all laugh)

Now, you still act, much more than your write or direct. The last film you wrote and directed, I believe, was Client, which we saw over here, mostly via VOD, as French Gigolo. Very good, very funny, very French, very clever. We loved it.

Yes. Good!

That was last year, right?

No, I think it was three, four years ago already.

Oh – well, we only got it here last year, I guess. Wow—four years: Do you have something new coming up?

Yes, next year. I am writing it now, and I will film next year.

But you probably don’t want to talk it about it now?

Well, it is not finished, so… no.

If you had your “druthers” -- wait a minute, I’d best not use that word -- if you could do what ever you wanted to do in the world, would you be acting, directing or writing more – or just mixing it up the way you do.

The same. Just more of it. I wish I had more than one life!

Don’t we all?! I think that this is something we feel more acutely as we grow older. Here's a question your career made me want to answer: As an actor, what is it like to play the same character in different movies, as you have done in Cette femme-là (which we called Hanging Offense) and La Clef (The Key)?

from Hanging Offense (Cette femme-là)

Well, this was not exactly the same characters, even though they have the same name, are the same person, and have the same professions.

Hmmm… Is The Key(La Clef) darker or not as dark as Hanging Offense.

It is not as dark.

Ah-- that would make a big difference.

This director, Guillaume Nicloux, he had his own music, you know. He does not really direct actors so much.

He leaves you on your own?

Not really on your own. He lets you find the music of your character.

Of all your films, that one has stayed with me in odd ways.

from The Key (Le Clef)

Nicloux, you know, he writes very dark. And that shoot you know, it was so cold and so difficult to do.

Lets talk abut something sunny then: With the Les Bronzes series, that was another instance of your playing the same character?

Yes, and we made one film right after the other, but then, after some years, we made the third film. It was like old friends getting together again after a very long time. These were very popular movies – ten million people went to see them in France.

What does it cost to go to a movie in France?

Probably the same as in Amercia – with the currency difference.

So you are happy bouncing around from directing to acting to writing and producing?

Yes I am happy. And I also do theater, too. And I love to do all these things. It depends on the idea. When I find a good idea, in any form, then I want to do it.

How often do you do legitimate theater?

Maybe every four or five years. And then, when I do it, it may last from four to five months.

So that is a real chunk out of your life. Did you begin your career in legitimate theater, or in film or TV?

No, we start in something like... (she consults with the translator) cabaret, where you can do small sketches, like comedy, and in smaller venues.

Ah. Do you ever do anything like that again, now?

No.

It would probably be mobbed by your fans, right?

(She shrugs and smiles.)

What is your take on the current political situation in France? Is it getting more right-wing or are the French able to keep that down?

I think this is like... a threat – but something that is not going to happen. It will come to nothing. You have this here, too, no?

I think it is worse in our country. And I know that you are not a politician, but do you think that the Euro will stay as the currency of all Europe, or will each country go back to its original currency?

I think we will continue with the Euro because otherwise it would be very unstable.

The European community could fail as a community.  Is there anything you would like to talk about that journalists never ask you. Here’s your chance. (She and her translator both laugh).

(As she thinks about this, I ask) I understand from your publicist that you are married to an American Indian – and that it was same man – the actor who played the Indian in Client?

Yes, yes.

from French Gigolo (Cliente)

Do you both come back here to the US often?

Yes, he more often than me. But I come as often as I want. I come as a tourist. I now know Flint Michigan because George, my husband (shown above, right), is from Flint.

Wow: Did he work for General Motors?

No, but his father did. It was very different back then, he tells me. The company then provided so much for its employees.

Things were very different back then. We call that time very paternalistic. But the western world does not seem that way anymore. (Josiane shakes her head in agreement) Was The Hedgehog a hit in France?

Yes it was. Not a huge hit but quite successful.

It seems to me that this movie could become a big arthouse hit over here. It’s touching without being sappy, funny without being a sitcom, and it offers a really wonderful array of characters.

Some people were angry at me for what happened at the end. “Why did you have to … ?” they ask me. (We’re giving away no spoilers here)

But that is how the book did it, too, right?

Yes. But the book was more, perhaps, philosophical.

We chat a bit more before bidding adieu to this wonderful performer, whose next film, next year, we’ll look forward to seeing.

(Unless stated otherwise, all the photos above are from The Hedgehog, courtesy of NeoClassics Films Ltd.