(Allen is not the only one who loves Paris)
Today I want to talk about three films that premiere on Friday. They are very different. Midnight
IN PARIS, by Woody Allen; TOURNEE, Mathieu Amalric, NO IDENTITY by Jaume Collet-Serra.
Alphabetical director. Woody Allen film I liked. I have to admit. I liked the message that launches the film. Because no message. Allen liked me from the height of more than 75 years, let give us a splendid idea, not obviously less interesting: learn to enjoy your present, because not all the times were better. The human species, in its highly cultural species and much more in your film buff subvariant species tends to think everything was better before: the golden age lies in the 60's either in the 40's, in silent films. Whatever. Before ever before. This is boring, mediocre, full of enormous stupidity surrounding us everywhere. In contrast the past. Ah so if it was life! Plagued by all the topics we have or have about Americans in Paris now and then, topics ranging from the new rich who despise the culture or the new rich who know more than anyone of culture, even the most banal topics on Hemingway Scott Fitzgerald, Picasso and Gauguin back a little and Toulouse Lautrec, the film is an accumulation known ideas expressed with an honesty and simplicity (not simplicity) that make it endearing. Allen loves Paris but is that of a tourist guide.
film Mathieu Amalric. There is no doubt that this actor has got a director who reflected. I am neither the first nor am I the only one that brings up a John Cassavetes film as a model of Amalric. But there is little difference. One is French XXI century, another American century. Almost missed the past so as Allen's character, Amalric knows, anyway, which is in this where to look to his characters, the actresses, their comic. Because deep down, Tournée is a journey of a French comedy with director and troubled and tormented girls willing to have fun on and off stage. A pleasure to enjoy.
film Jaume Collet-Serra. True, no identity has no identity. But that's the best compliment you can make this movie. But to return to her criticism reproduce Frames wrote in a couple of months:
Hitchcock would have enjoyed a lot with this tale of false guilty Polanski well. Hitchcock and Polanski are two names that come to mind watching this movie. Although there is a third reference medium length: Bourne. With this data you can imagine that no identity is a mix between Polanski's Frantic, the Bourne saga and anti-heroes Hitchcockian. Collet-Serra makes them an explosive combination that works like clockwork. A clock that hides a final trick, because there is no trick identity. A man arrives in Berlin loses a case, has an accident and wakes up in a hospital. But it is not who they think is up and chase him. In this situation finds support in a girl without papers and an old agent of the Stasi. The scenery, the city of Berlin, snow, cold, beautiful, becomes the third protagonist of a mystery without leaving the protagonist pursues a minute of rest. Neither he nor the viewer to let itself be dragged by the action of this thriller that renews the spy film. And that allows us Bruno Ganz rediscover the old role of the Stasi agent. Film action film of ambition, film stays with you. A pastiche? Yes, but well done. A commitment to entertainment and commercialism. Yes, but it works.
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