Enchanté: COLCOA film fest hits LA

coloca-logo5[1]The City of Lights City of Angels (COLCOA) Film Festival, a fixture in Los Angeles for 18 years, shows new and classic French films at the Directors Guild in Los Angeles. The fest runs April 21-28.

This year’s fest offers another prime schedule of French motion pictures. “We Love You, You Bastard” (or Salaud, on t’aime, to be French about it), the latest film by Claude Lelouch, is the opening night film.

Lelouch, a New Wave writer-director (auteur), won the Palme d’Or at the Cannes Film Festival with his 1966 “A Man and a Woman” (or Une Homme et un Femme). He conquered movie art-houses and has been active ever since. This new Lelouch movie stars two venerable French rock stars Johnny Hallyday and Eddy Mitchell in a story about sowing wild oats and dealing with the results.

What is showing to tempt noiristas? Well, 1960’s “Purple Noon,” one of the great film noirs, starring Alain Delon and Maurice Ronet. This gripping thriller was directed by Rene Clement, based on a novel by the American expatriate crime writer Patricia Highsmith and dazzlingly shot by Henri Decae. It screens at 1:45 p.m., on Tuesday, April 22.

our-heroes[1]le-dernier-diamant[1]Then, there’s the highly popular Film Noir Series on Friday, April 25. Can’t wait! At 5:30 p.m. is the North American premiere of “Our Heroes Died Tonight” (Nos héros sont morts ce soir). Set in early-1960s Paris, this minimalist noir, written and directed by David Perrault, plunges into the seedy world of semi-professional wrestling where backroom dives smell of Gauloise and sweat, and the fights are all rigged.

At 7:30 p.m. Eric Barbier’s heist thriller “The Last Diamond,” makes its international premiere. Starring Bérénice Bejo and Yvan Attal, the film follows in the tradition of Jean-Pierre Melville’s “Le Cercle Rouge.” The carrot for the crooks is mighty pretty: the fabled Florentine, a 137-carat yellow diamond last seen in 1918, which has resurfaced and is up for sale in an exclusive Antwerp auction house.

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venus-in-fur[1]The Larriere Brothers’ crime drama “Love is a Perfect Crime” plays at 10:30 p.m. Adapted from “Incidences by Philippe Dijan, whose other novels inspired the films “Betty Blue and “Unforgivable,” this chilly thriller revolves around a University of Lausanne student who goes missing. The top suspect? Her professor and lover, natch. “Love is a Perfect Crime” stars Mathieu Almaric, Karin Viard, Maiwenn and Sara Forrestier. This is the film’s West Coast premiere.

The late, great François Truffaut will be honored Friday.

The late, great François Truffaut will be honored Friday.

There are two other enticing events on Friday. The massively influential but too mortal (and gone too soon) French auteur François Truffaut will be remembered at a 1:30 p.m. screening of his very personal 1977 tale of a femme-chaser “The Man Who Loved Women,” starring Charles Denner as the Man, and Brigitte Fossey, Nathalie Baye and the supremely piquant Leslie Caron as some of the Women. There will be a talk on Truffaut after the movie.

At 8:30 p.m., that brilliant and elusive Polish-American-French cineaste, Roman Polanski will be represented by his latest film “Venus in Fur,” based on the masochistic novel by Leopold Sacher-Masoch and David Ives’ play from it. “Venus” stars Polanski’s muse-mate Emmanuelle Seigner as an extroverted actress who shows up after hours to read for a part.

la-belle-et-la-bete[1]the-murderer-lives[1]On Saturday, at 11 a.m., the one French film of this year’s glittering menu that you absolutely don’t want to miss: the 1946 fairytale treasure “Beauty and the Beast,” written and directed by Jean Cocteau. Josette Day stars as Belle and Jean Marais as Bete. The film was photographed (lustrously) by Henri Alekan, scored (hauntingly) by Georges Auric and technically advised by Rene Clement, who we suspect, had more to do with the film‘s impeccable, fantastic technique than just advice.

If fairytales aren’t your tray of gateaux, there’s a brutally real alternative: “Abuse of Weakness,” a fierce semi-autobiographical drama by auteur Catherine Breillat about her own fleecing by a famous conman. “Abuse” screens at 7:45 p.m.

“We Love You, You Bastard” rescreens at 1:15 p.m.

Sunday brings the closing session of the competition, but there are two more major French classics on Monday, April 28. At 2 p.m., you can see the great director Patrice Chereau’s 1994 adaptation of Alexandre Dumas’ breathless historical novel “Queen Margot” (La Reine Margot). Chereau’s film stars Isabelle Adjani and Daniel Auteuil.

And at 3:30 p.m. there’s another film noir, a black-and-white ‘40s classic: “The Murderer Lives at No. 21” by Henri-Georges Clouzot. French stage and screen actor Louis Jouvet stars as the relentless detective Wens.

The COLCOA screenings are at the Directors Guild, 7920 Sunset Blvd., Los Angeles, 90046.

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‘Purple Noon’ marked milestone for Clément and Delon

“Purple Noon,” recently released by Criterion, is the prize for FNB’s January-February reader giveaway. Michael Wilmington reviews.                                                                          

Purple Noon/1960/Robert and Raymond Hakim/118 min.

“Plein Soleil,” or “Purple Noon” is a classic thriller and an exceptionally riveting and beautiful movie about desire and cruelty, murder and malice. It’s a smoke-and-mirrors game of make-believe played by a psychopathic killer, a villain from a classic of 20th Century crime fiction – 1955’s “The Talented Mr. Ripley” by the brilliant American novelist Patricia Highsmith.

Alain Delon (right) plays Tom Ripley, a conman who fools a reckless playboy named Philippe (Maurice Ronet) and his girl, Marge (Marie Laforêt). The movie was adapted from Patricia Highsmith’s novel.

Shot in Italy, we first meet Ripley in the Bay of Naples, on a sailboat, surrounded by blazing sunlight (“plein soleil”). Two good-looking young men are laughing and smiling. The joke is that one of them, a handsome, penniless hanger-on named Tom Ripley (Alain Delon), will kill the other one, a rich, reckless playboy named Philippe Greenleaf (Maurice Ronet), assume his identity, take his money, and maybe seduce his girl, Marge (Marie Laforêt).

They are both laughing (but Philippe’s eyes are wary, Tom’s predatory), smiling with the special joie de vivre and cruel merriment of the young and careless – the high giddy spirits of, say, Robert Walker as Bruno Anthony planning his criss-cross murder with Farley Granger as Guy Haines in Highsmith and Alfred Hitchcock’s “Strangers on a Train.” But then Tom really kills Philippe. A knife thrust. A scream. “Marge!” cries the victim, the knife stuck in his chest. When the murder comes, it’s so swift, so effortless, so unexpected, yet so oddly inevitable, that it’s hard to believe we’ve seen what we’ve seen.

Ripley (Alain Delon) is a man trying to live a life that isn’t his.

Released in 1960, the same year as “Psycho” and “La Dolce Vita,” “Purple Noon” was an off-type movie for French filmmaker René Clément, a gifted and highly regarded director, who, by 1960, had won two major Cannes Film Festival awards, two Oscars (for 1949’s “The Walls of Malapaga” and 1952’s “Forbidden Games”) and two Golden Lions at Venice. In 1946, Clement had served as Jean Cocteau’s “technical adviser” (his co-director, some think) on the romantic fantasy masterpiece “Beauty and the Beast.”

Clement was a technical genius who chose challenging subjects. But he had been famously attacked in an influential article by the young François Truffaut. Writing in Cahiers du Cinema, Truffaut accused Clement and other filmmakers of being pretentious, over-praised mediocrities. Truffaut was a great filmmaker and a great film critic, but he sometimes said nasty and unfair things (as he admitted in later years) to draw attention to himself and kick up controversy. His dismissal of Clement was one of his bigger critical injustices.

Did Clement take it to heart? Most tellingly, “Purple Noon” is obviously influenced by Hitchcock, whom all the young Cahiers du Cinema critic/directors loved (they called themselves the “Hitchcocko-Hawksians”). “Purple Noon” is a film that most of them would probably have liked to have directed, but didn’t. Couldn’t?

Delon plays a love scene with his reflection in a mirror.

There is, however, a notable deviation from the Hitchcock thematic pattern. “Purple Noon” is not a movie about a wrong man falsely accused of a crime he hasn’t committed, like Cary Grant in “North by Northwest,” or Robert Donat in “The 39 Steps.”

In “Purple Noon,” Ripley is guilty. He’s a man trying to live a life that isn’t his, a life that belonged to the man he killed. “Purple Noon” is about the idle rich, and Ripley is a conman who wants to be idle and rich. Both Highsmith and Clement are unusually successful in getting us immersed in a story where most of the people are rich and selfish, where the leading man is irredeemably evil and the only really likeable character is Philippe’s abused girlfriend Marge, a writer with bad taste in men.

Ripley is in Italy at the behest of Philippe’s parents to talk Philippe into coming home. Instead, the guys become carousing hell-raising buddies. After the murder, Ripley takes Philippe’s bank records, fakes a passport, forges Philippe’s signature, imitates his voice on the phone, and lays a paper trail of hotel receipts to pretend that the dead man is still alive, still joy-riding somewhere around Italy.

Ripley is the real killer, constantly being mistaken for his own victim. It’s a brilliant Highsmith idea, and one that generates near-constant suspense, especially in the great scene when Ripley, disguised as Philippe, is confronted by Philippe’s suspicious friend Freddy Miles (Bill Kearns). That Tom-and-Freddy chase was also the only great scene in Anthony Minghella’s 1999 American movie version of “The Talented Mr. Ripley,” with Matt Damon miscast as Ripley. And the only reason that scene was great was because of Philip Seymour Hoffman’s marvelously snide performance as Freddy.

There’s a great performance in “Purple Noon” too: the tigerishly seductive Alain Delon, in his first important part. Delon is one of those impossibly good-looking actors who get careers they seemingly don’t really deserve (and that Delon said he initially didn’t want), but whose looks the movies feed on, and whom, it is said, the camera loves.

Delon, a working-class Adonis, is one of the few actors who could play, as he does here, a believable love scene with his own reflection in the mirror. We may not want Ripley to escape, but he generates unusual simpatico for a cold-blooded swindler and killer. And Maurice Ronet, with his haunted eyes and bedazzled smile, is just right as the irresponsible Philippe.

Delon, of course, was wrong for the part of Ripley in one major respect. It is impossible to believe that he (or Ronet) is an American. But in other respects, he’s an apt choice, and once you see him in the part, it’s hard to discard his image. (Damon, by contrast, though he’s played some movie villains, seems inherently too nice a guy for Ripley.)

Clement made the kind of thriller Truffaut would have loved to have made, but never did. And for the rest of Clement’s career, he was often typed as a thriller specialist, because of “Purple Noon,” which became one of the most influential of all French crime/suspense movies.

It deserves to be. “Purple Noon” still plays beautifully, especially in the scenes where Ripley battles the elements after the murder. Two years later, in 1962, a talented young Polish film director, Roman Polanski, made a thriller, set on a sailboat, that reminds you greatly of the bay scenes in “Purple Noon.” (“Knife in the Water” became an international hit and eventually brought Polanski to Hollywood where he made superb mass-audience thrillers like “Rosemary’s Baby” and “Chinatown.”)

I wish Clement had had a few more opportunities like Polanski did. Maybe Truffaut wished it as well. Maybe the maker of “The Four Hundred Blows” wished he hadn’t been so quick to thrust in the knife.

Extras: Interviews with Patricia Highsmith, Alain Delon and Clement scholar Denitza Bantcheva; Trailer; Booklet with a fine essay by Geoffrey O’Brien and a 1981 interview with René Clément.

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Free stuff from FNB: Win ‘Purple Noon’ from Criterion

Dianna K. is the winner of the December giveaway. (The prize is Dark Crimes: Film Noir Thrillers, a three-disc DVD collection from TCM and Universal.)

For January-February, I am giving away a DVD copy of “Purple Noon,” from Criterion. It’s a classic thriller, directed by René Clément from a Patricia Highsmith novel. The sublime Alain Delon stars, along with Maurice Ronet and Marie Laforet.

To enter this giveaway, just leave a comment on any FNB post from Jan. 1-Feb. 30. We welcome comments, but please remember that, for the purposes of the giveaway, there is one entry per person, not per comment.

The January-February winner will be randomly selected at the end of the month and announced in early March. Include your email address in your comment so that I can notify you if you win. Also be sure to check your email – if I don’t hear from you after three attempts, I will choose another winner. Your email will not be shared. Good luck!

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FNB holiday gift guide 2012: Part Two

I’m back today with more stuff to covet. First, a few classics that any film noir fan should own. These books have been out for a while but I wanted to mention them because the Library of America editions are particularly well done.

Crime Novels: American Noir of the 1930s and 40s” (Vol. 1) includes The Postman Always Rings Twice, They Shoot Horses, Don’t They?, Thieves Like Us, The Big Clock (Library of America), $35.

Raymond Chandler: Stories and Early Novels: Pulp Stories” includes The Big Sleep, Farewell, My Lovely, The High Window (Library of America), $40.

Raymond Chandler: Later Novels and Other Writings” includes The Lady in the Lake, The Little Sister, The Long Goodbye, Playback, Double Indemnity screenplay, selected essays and letters (Library of America), $35.

And now for some newly released titles.

Film Noir Graphics: Where Danger Lives by Alain Silver and James Ursini, $40.

Hollywood Sketchbook: A Century of Costume Illustration by Deborah Nadoolman Landis, $75.

The Hollywood Canteen: Where the Greatest Generation Danced With the Most Beautiful Girls in the World by Lisa Mitchell and Bruce Torrence, $23.

W: The First 40 Years by Stefano Tonchi, Christopher Bagley and John B. Fairchild, $75.

How the French Invented Love: Nine Hundred Years of Passion and Romance by Marilyn Yalom, $16.

Another Insane Devotion: On the Love of Cats and Persons by Peter Trachtenberg, $24.

The Rolling Stones 50 by The Rolling Stones, Mick Jagger, Keith Richards and Charlie Watts, $60.

An Extraordinary Theory of Objects: A Memoir of an Outsider in Paris by Stephanie LaCava, $24.

The Blue Bottle Craft of Coffee by James Freeman, Caitlin Freeman and Tara Duggan, $25. Jeffrey Steingarten recommends this coffee; nuff said.

As a curator for the History Channel Shop, I’ve recommended 30 of my favorite film noir titles. You can’t go wrong with the Film Noir Classic Collection Vol. 1 (Warner Bros.). This essential set includes: The Asphalt Jungle, Out of the Past, Murder My Sweet, Gun Crazy and The Set-Up. (You can read mini-reviews of the first four titles on the Shop page or search for full-length reviews on this site.)

Film Noir Classic Collection Vol. 1, $50.

Last month, Paramount released “Sunset Blvd.” on Blu-ray, $27. Here’s a special-feature clip, a discussion of the mansion and pool in the film.

Alfred Hitchcock: The Masterpiece Collection (Universal), Blu-ray, $300.

New from Criterion: Purple Noon, Blu-ray, $32.

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