Tag Archives: jean dujardin

REVIEW: “The Connection”

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CONNECTION POSTER

It was back in 2011 when Jean Dujardin caught the collective eyes of the movie world by winning the Best Actor Oscar for his fabulous work in “The Artist”. It was the first time many people had heard of Dujardin, but in reality he had already established a good career and shown himself to be a solid actor in his home country of France. A quick gander at his body of work reveals an actor with an impressive range who can handle any genre.

In “The Connection” the charismatic Frenchman dives into the 1970s drug trade and delivers one of my favorite performances of the year. The film is based on the French Connection, not so much the movie (although comparisons are inevitable), but the real life network that saw heroin processed in France and then distributed around the world most notably New York City. The French Connection’s roots go back as far as the 1930s but the film examines the time period during the 1970s when the network began to unravel.

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Dujardin plays Pierre Michel, a juvenile court officer who gets promoted to Magistrate of Marseille’s organized crime unit. Michel immediately sets his eyes on a powerful drug gang called la French which is ran by the hard-nosed Gaètan “Tany” Zampa (played with a sadistic charm by Gilles Lellouche). Despite the concerns of his reluctant team, Pierre begins chipping away at Zampa’s network. But he learns the hard way that bringing down such an elaborate and ruthless organization isn’t without costs.

Director Cédric Jimenez allows his crime thriller to expand beyond the police station and streets. We also spend time at Pierre’s home where his wife Jacqueline (Céline Sallette) grows tired of his obsession with his work. Her frustration and his work-related stress make home life difficult. There is also the possible threat to his family which grows with each dent he makes in Tany’s outfit. All of this adds another layer to Pierre’s character. He moves from an ambitious crusader to a man left broken, helpless, and overwhelmed.

But the film also spends time inside of Tany’s world. He’s a good husband to his high maintenance wife and a loving father to his children. But when dealing with business we see an entirely different side – one not afraid to extort or kill. We see the layers of his drug operation and the lengths he will go to protect it. Tany begins to feel the pinch from Pierre’s team which leads to bloody infighting with one of his lieutenants. The violence ramps up leading Pierre to be more aggressive. But you always get the sense that Tany has the upper hand.

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Again, some will make the mistake of comparing this to the beloved William Friedkin film “The French Connection”. I see it more as a companion piece that looks at things from a different angle. “The Connection” is doing its own thing. Much of the film operates like a meticulous police procedural instead of an action-heavy police flick. It deals us a lot of information, but it’s laid out intelligently and cohesively. The story isn’t built around its action. Instead it is about connecting the dots and it plays its compelling cat and mouse game through clues and discoveries. I loved that approach.

“The Connection” is a strong film that deserves to be judged on its own merits and not by some unnecessary comparison. Shot completely in 35mm, the film looks great and features a strong story centered around two thoroughly compelling characters. It also features another superb performance from Jean Dujardin. The film does run a bit long, but I never felt bogged down or bored. Instead I was completely immersed in this intelligent and detail-driven police drama that is well worth seeking out.

VERDICT – 4.5 STARS

4.5 STARS

REVIEW: “The Monuments Men”

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MONUMENTS poster

Inspired by an incredible true story and armed with a wonderful ensemble cast, “The Monuments Men” has all the ingredients to be a sure thing. The talent behind the film starts with George Clooney who co-writes, stars, and takes another turn at directing. Clooney has directed some fantastic movies but “Leatherheads” and “The Ides of March” showed us that he’s far from infallible. But I was excited once I saw “The Monuments Men” on the horizon and it quickly became one of my most eagerly anticipated films. Pretty high expectations, right?

I first heard the story of “The Monuments Men” from author Robert Edsel. He was doing an interview and talking about his new book which told the true story of Allied soldiers who sought out and saved important works of art from Hitler and the Nazis during World War 2. It’s incredible stuff and once I heard about a film adaptation I was hooked. Clooney’s picture is loosely based on the actual events which feeds the movie’s strengths but also its weaknesses. So far people have pounced on the film expecting more from it or wanting something entirely different. Personally I thought “The Monuments Men” was fantastic.

Monuments2While watching the film my very first feelings were nostalgic. “The Monuments Men” is a throwback to the old ensemble war pictures but with its own unique twist. I immediately began thinking of movies like “The Green Berets”, “The Guns of Navarone”, and “The Dirty Dozen”. Even the end credits hearken back to those older pictures. My father loved these films and growing up I was able to watch them and learn to appreciate them. I think Clooney gets that and he knows what he’s doing. I give him a ton of credit for recapturing the vibes and nuances of those past genre pieces.

But the big difference between this film and the older ones can be found in the characters. This team isn’t comprised of hardened frontline soldiers. These are common men who possess particular skills needed to complete this unique mission. They are museum curators, art historians, and architects. They are older men who are more comfortable with Picassos and Monets than machine guns and hand grenades. Their mission brings them in as the war in Europe is ending. But even though they slip around the battlefields and combat, eventually the elements of the war effects them. They are at times joking and playful – it’s what you could expect from these types of characters. But they are no longer curating museums, designing skyscrapers, or painting. They are in the war and they constantly come across sober reminders of that.

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I love this entire dynamic which diverts the movie from a common action-oriented path. There really isn’t much action at all which hurts the film in some people’s estimation. Personally I don’t think the story calls for much action. Instead it focuses on the mother of all treasure hunts through an assortment of beautiful European locales. But their mission isn’t easy. There are still wartime tensions, a greedy Russian army, and the Nazis who are under direct orders from Hitler to destroy everything. The seven who make up The Monuments Men split up and spread out across Europe hunting clues, fleeing danger, and tracking down as much stolen art as they can.

Clooney’s film has plenty of shifts in tone. The movie sometimes feels easygoing and lighthearted only to be dark and somber a few scenes later. Some have taken issue with this saying the humor feels out of place. I completely disagree because I found the humor to be measured and conscientious. The humor was there but it felt light. There were never any attempts at big laugh-out-loud moments which would have really been jarring.

And then there is the cast. I love watching good actors act and we certainly get to do that. Clooney plays the team leader and he’s joined by Matt Damon, Bill Murray, Jean Dujardin, John Goodman, Bob Balaban, and Hugh Bonneville. Everyone of them gives fine performances and there is some unique chemistry that develops. Cate Blanchett is also excellent playing someone based on the fascinating real Rose Valland. All of these characters are given their moments to shine and we are given small bits of information about them along the way. Unfortunately it’s not enough to fully develop the characters – only to make us want to know more about them. That was a little disappointing although a movie like this could get bogged down with layers upon layers of backstory.

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Phedon Papamichael (who also did brilliant work in 2013’s “Nebraska”) offers up some fine cinematography and the war-torn set designs look amazing. Alexandre Desplat’s score adds to the film’s old-school flavor that Clooney is obviously shooting for. The performances, the nostalgia, the clever balance of the script, the uniqueness of the story. Everything I’ve mentioned comes together in a film that I found satisfying but many others clearly didn’t. What has caused the strong backlash to this film? Was it the lack of action, the deliberate pacing, the scattered storytelling? These things are certainly present but for me they made it a better film and they help steer it away from the conventional movie we could have gotten.

As a lover of art and World War II history, the story of “The Monuments Men” connected with me from the start. As a lover of the fun ensemble war pictures that were all but gone by the end of the 1960s, Clooney’s vision and approach hits the target. To say I’m bewildered by the negative reception to this film is an understatement. I don’t quite know what to make of it. But movies are a funny thing and they certainly effect people differently. For me this was a real treat – a movie that doesn’t pander to conventionalism, moves at its own pace, and treats its subject with respect. It’s not a masterpiece, but it’s certainly not a bad film either and I for one loved it.

VERDICT – 4.5 STARS

5 Phenomenal Movie Doofuses

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PHENOM 5

What are the qualifications for being a phenomenal movie doofus? I mean if you think about it there are a wide variety of characters throughout cinema’s history that could be singled out for their idiocy. They appear in every genre: horror, romance, comedy, and action films. Doofuses are everywhere on the big screen. But this week I’m looking at the dumbest of the dumb. These five doofuses are the cream of the crop in terms of clueless buffoonery. But I have to be honest, sometimes these characters are the funniest and that’s why I love these five. So on this week’s Phenomenal 5 I’m giving them their due. Now with so many brainless doofuses gracing the screen, it would be ‘doofusy’ to call this a definitive list. But I don’t think it’s a stretch to call these five movie doofuses absolutely phenomenal.

#5 – AGENT HUBERT BONISSEUR DE LA BATH (“OSS 117” series)

OSS
The OSS 117 series was initially a group of serious spy movies made in the late 50’s and early 60’s. But in 2006 director Michael Hazanavicius and star Jean Dujardin teamed up to create a parody of those films with OSS 117: Cairo, Nest of Spies and its sequel OSS 117: Lost in Rio. If you haven’t seen them you’re missing a comedic treat. Dujardin’s Agent OSS 117 doesn’t waste time revealing his cluelessness and ineptitude. Whether he’s stumbling over obvious clues or offending women, countries, or religions, it all spawns from his undeniable idiocy. He’s a hysterical character and Dujardin’s committed performances and impeccable comedic timing are big reasons why.

#4 – FRANK DREBIN (“Naked Gun” series)
frank drebin

Leslie Nielsen was a comic genius and that was never more evident than in “The Naked Gun” series. In Frank Drebin, Nielson created one of the most idiotic yet lovable comedic characters in film. Whether he’s destroying property due to his constant clumsiness or struggling with speaking or understanding the English language, Drebin is hilarious. Nielsen was also brilliant in selling Drebin’s sincerity even in the most ludicrous of scenes. Detective Frank Drebin found his origins in a small TV series that was canceled after six episodes. But this well-meaning moron made a name for himself on the big screen and he has to be on this list.

#3- CLARK GRISWOLD (“Vacation” series)

GRISWOLD
Can you possibly have a list of great motion picture doofuses and not include Clark Griswold of the National Lampoon’s “Vacation” films? I think not. Chevy Chase had several good movie roles but for me none are as memorable as his portrayal of the good-hearted but dimwitted family man Clark Griswold. Clark always had good intentions when it came to family vacations. But whether it was his wandering eye, his volatile temper, or his unquestionable stupidity, he always managed to foul things up. But it’s that imbecilic nature that makes Clark such an endearing character as well as one of the funniest to watch. Either in Europe, Vegas, at Christmas time or Walley World, Clark is going to flub things up. What else would you expect from such a classic doofus?

#2 – LLOYD CHRISTMAS & HARRY DUNNE (“Dumb and Dumber”)

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Look I know this is a cheat, but how can you separate Lloyd Christmas (Jim Carrey) from Harry Dunne (Jeff Daniels)? These two best friends from the Farrelley brothers insanely funny “Dumb and Dumber” are textbook doofuses. In their cross-country trek to meet the girl of Lloyd’s dreams, these two imbeciles find themselves in more and more trouble all due to their lack of sense. There’s no denying it – these guys are doofuses. I mean I can’t even look at them without laughing. For me this is a side-splitting comedy and that’s mainly due to these two big time buffoons.

#1 – INSPECTOR JACQUES CLOUSEAU (“The Pink Panther” series)

CLOUSAUE
For my money the quintessential movie doofus was Inspector Clouseau from Blake Edwards’ classic “Pink Panther” series. Peter Sellers may have been the funniest actor of all time. Just ask some of his co-stars. I grew up watching Clouseau and his lame-brained attempts at detective work and these films are still some of my all-time favorite comedies. Clouseau could make something as simple as opening a door hilarious and his harebrained deductive skills give us some priceless cinema. Clouseau’s utter stupidity astounded people and even drove his boss mad. But it also cemented him as the all time greatest movie doofus in my opinion.

So where did I go wrong? There are several others than came to mind but there is only room for five. Who would have made your list?

REVIEW: “OSS 117: Cairo, Nest of Thieves”

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OSS 117 Poster

It may surprise some but the Oscar-winning juggernaut “The Artist” wasn’t the first collaboration between director Michel Hazanavicius and stars Jean Dujardin and Bérénice Bejo. In 2006 the three came together to make the spy thriller spoof “OSS 117: Cairo, Nest of Spies”. These two films couldn’t be any more different yet there is an interesting similarity. “The Artist” was a silent movie that paid tribute to an often forgotten era of moviemaking. “OSS 117” is a parody of the old 1950s and 1960s spy pictures particularly the early James Bond films. While quite different in production and intent, both have sharp eyes when it comes to the era of filmmaking they take place in.

Jean Dujardin plays OSS 117, a French secret agent who is a cross between Bond and Inspector Clouseau. He’s sent to Egypt to investigation the death and disappearance of fellow agent and friend Jack Jefferson, to stop all fighting between the Americans and Russians, and bring complete and total peace to the Middle East. To this ridiculously unreasonable task he simply replies “No problem”. In the first few scenes you get a good idea what kind of movie this is and what kind of character OSS 117 is. He has the suave and debonaire looks of Bond but the intelligence and deductive skills of Clouseau. As he was getting his assignment from his superior, I couldn’t figure out who the film was spoofing more, a nitwit secret agent or the French government for actually sending this guy. Perhaps a little of both I think.

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He lands in Egypt and meets with his contact, a beautiful local named Larmina (Bejo). It doesn’t take him any time to show her and us his utter stupidity as he tries to impress with his incorrect knowledge of the country and his offensive comments about it. That gets to one of my favorite things about this movie – it’s definitely politically incorrect. OSS 117 manages to unknowingly yet repeatedly put down the country, its people, and even its religion. Some of these scenes are hysterical and this is when his buffoonery stands out the most. We also quickly learn that he couldn’t recognize a clue if it were parked right behind him. There are so many leads and bits of evidence in plain sight that anyone other than our bumbling protagonist could see.

There are also several other hilarious running gags the go on throughout the film. There is his infatuation with a light switch and the effects it has in a chicken house (I’ll leave it at that), a reappearing spy who constantly calls in 117’s locations, and one gag that specifically focuses on 117’s always perfect hair. All of these worked for me. But there are scenes where the film goes a little over the top. For example, there’s an intense shootout later in the movie but not with guns and bullets. The weapons of choice? Chickens! Now I’ll be honest, I did chuckle a bit at that, but overall it felt a little too outlandish.

With the exception of the parody, this film looks and feels like it could have been made by the filmmakers of the late 1950s. It’s set in 1955 and Hazanavicius goes to great lengths to recreate that. He does so not just with the cars, clothing, and interior designs, but also by using the same style of special effects. I particular loved the driving sequences with the obvious rolling video screen behind them. There are also a couple of fight sequences that feel yanked right out of that period.

OSS 117 (2)

Another highlight was Dujardin. He really impressed me with his sharp sense for comedy. He’s completely believable and brings out the silly shallowness of this character who’s more interested in opportunities to wear his tuxedo and learning to smoke cigarettes. Dujardin’s wacky array of postures and facial expressions work perfectly and Bejo is a wonderful compliment. There are also several other side characters that bring in some really good laughs.

Considering the absence of good quality comedies, “OSS 117: Cairo, Nest of Spies” was a great find. I have to admit that Hazanavicius, Dujardin, and Bejo became known to me through “The Artist”. But because of the impression they made, I was immediately interested in this film just by seeing their names attached. It didn’t let me down. Now obviously this isn’t the type of comedy that everybody will respond to. But I loved the mix of subtle humor and over the top absurdity. And now I find out that Hazanavicius and Dujardin did a sequel? Sign me up!

VERDICT – 4 STARS

TOP 5 BEST LEAD ACTOR PERFORMANCES OF 2011

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TOP 5 BEST LEAD ACTOR PERFORMANCES OF 2011

When I look back on 2011, it will be a year where the performances actually outshined the finished films. While several movies became favorites of mine, it was the wide range of high quality acting work that really impressed me. Since we have talked about the ladies, let’s get to my top 5 male leading performances for 2011. Again, it was hard to leave a couple of names off this list, but this is one solid group of actors.

#5 – Owen Wilson (Midnight in Paris)

I’m as surprised at this as anyone else. I’m not the biggest Owen Wilson fan. I’ve often times found him over the top and just too goofy for my taste. But while we get hints of the Owen Wilson we’ve seen in past movies, in “Midnight in Paris” he seems more controlled and tempered while still being genuinely funny. I really liked Gil Pender and appreciated how Wilson brings him to life. Woody Allen’s influence can certainly be seen, but Wilson makes the character his own and sells him beautifully.

#4 – George Clooney (The Descendants)

I wasn’t as crazy about Alexander Payne’s “The Descendants” as most people, but there’s no denying the brilliant work from George Clooney in the lead role. Clooney honestly makes everyone else who shares a scene with him better. He doesn’t dominate the scenes or call unmerited attention to what he’s doing. It’s a very real and organic performance and one that definitely deserves the attention it has received.

#3 – Mel Gibson (The Beaver)

I was a bit surprised to see Mel Gibson shunned this awards season. Hollywood and the Academy are extremely selective in terms of forgiveness regardless of how much hypocrisy their selectivity exposes. I’m not trying to be a Gibson sympathizer, but his performance in “The Beaver” is not only one of the best performances of the year, but some of the best work of his career. Obviously Gibson knows what it means to be a damaged man but to see it played out with such authenticity on screen was truly stirring. More people should give “The Beaver” a chance. If you do, Gibson’s performance can’t help but be appreciated.

#2 – Jean Dujardin (The Artist)

From the first moment you see Jean Dujardin on screen in “The Artist”, you know you’re seeing something special. His precision and detail in bringing a silent movie character to life goes well past nostalgia. He brought more life to his George Valentin character with the handicap of no voice work than nearly every other performance of 2011. He certainly pays homage to a bygone era of filmmaking. But he also conveys the humor and drama from his character in a way that blew my mind. A truly brilliant performance.

#1 – Michael Shannon (Take Shelter)

Even with such great acting as I’ve already mentioned, no one effected me more than Michael Shannon in “Take Shelter”. He undoubtedly delivers one of the most painfully tragic performances I’ve seen in years. His depiction of mental illness is unique in that his character sees what’s coming. He has seen it in his mother and his biggest concern is on how it will effect his own family. It’s a crushing and emotional performance that was head-amd-shoulders above anything else I saw in 2011. It’s such a shame that he has gone overlooked.

Agree or disagree? Please leave a comment or share your top 5 of 2011.

REVIEW: “The Artist”

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Many modern moviegoers may be tempted to skip a new black and white silent movie. That’s a shame because to do so would be to miss a near motion picture masterpiece that is one part celebration of cinema and another part exercise in masterful storytelling. Michel Hazanavicius wrote and directed this gorgeous film that exudes nostalgia and imagination in every scene. His willingness to tackle the handicaps that accompany a black and white silent picture is admirable but I must admit I was a little worried. Could Hazanavicius recreate a believable bygone era of filmmaking or would the results be a well-intended mess? A large grin spread across my face after seeing the classic-styled opening credits and I immediately knew I was in for something special.

“The Artist” reminds us of everything that is magical about movies. It reminds us of a time when creativity trumped huge elaborate effects and million dollar set pieces. It uses black and white to it’s advantage and even though there are times that you can tell it’s intentionally being nostalgic, I never doubted it’s sincerity or integrity. Making this a silent picture was a risky approach but it works perfectly here. From Harold Lloyd to Nosferatu, I’ve been a fan of silent cinema and “The Artist” could blend right in with the best of those films. It may be a flashback to an earlier style of filmmaking but this silent movie speaks louder and says more than most of what we see coming out of Hollywood.

One of the key ingredients to the success of “The Artist” can be found in the brilliant performance of Jean Dujardin. He plays George Valentin, a popular silent movie star with the world in his hands. He revels in the attention and limelight that he gets from the starry-eyed public, an obsessed media, and the head of Kinograph Studios, Al Zimmer (John Goodman). But when the studio makes the shift from silent pictures to talkies, George finds himself pushed out and replaced by younger, fresher faces, most notably an energetic and beautiful actress named Peppy Miller (Berenice Bejo). George’s world crumbles around him but it’s his pride that may be his ultimate undoing. Dujardin loses himself in his character and captures the essence of a silent movie performance. But as the film progresses he draws you in with his crushing and deeply moving work. Expression is essential to his performance and Dujardin nails every grin, wink, head tilt, or mannerism. It’s beautifully expressive and his charm and command of every scene makes it unforgettable.

Bejo’s performance lives up to her character’s name. She’s spirited and lively and while it could be said that she over does it in a few scenes, she encapsulates what you would expect from a young aspiring actress from that era. And her chemistry with Dujardin is magnetic. It’s also fun to see such a wonderful supporting cast many of which have small roles. The great James Cromwell, Ed Lauter, and Malcolm McDowell each have small but entertaining roles in the film. Hazanavicius uses them perfectly. And how could I not mention one of the best animal performance in movie history from Uggie the dog?

“The Artist” is a phenomenal cinematic accomplishment and Hazanavicius’ vision is rendered brilliantly through sparkling black and white and sharp direction of his incredible cast. I genuinely felt that I had traveled back in time to a more authentic and purer period of movie making. But “The Artist” isn’t all about nostalgia. At it’s core it’s a simple but beautiful drama laced with humor and romance. “The Artist” is a wonderful package from it’s visual style to it’s perfect score, from it’s razor sharp direction to it’s captivating leading man. In a year of love letters to cinema, none are better than this and it’s certainly worth all of the awards it’s sure to get.

VERDICT – 5 STARS

5 STARSs

5STAR K&M