Film Review
Graphic artist-turned filmmaker Joann Sfar goes into reto mode in a big
way in his latest film, a luridly 70s-style interpretation of
Sébastien Japrisot's novel
La
Dame dans l'auto avec des lunettes et un fusil, which had
previously been adapted by Anatole Litvak in 1970. Buoyed up by
the immense success of his first two films,
Gainsbourg, vie héroïque
(2010) and
Le Chat du rabbin
(2011), both of which won him Césars, Sfar indulges his passion
for 1970s thrillers to the fullest extent in a film that many will
doubtless judge as a supreme example of style over substance.
Those who like their thrillers to be inundated with split screens and
innumerable references to past films may warm to Sfar's paranoiac
odyssey, but those expecting a slick thriller with believable
characters, a coherent narrative and nice tidy ending are in for a
disappointment.
Sfar claims he was more influenced by René Clément's
Le passager de la pluie (1970)
than Litvak's swansong piece, and this might partly account for the
casting of Scottish actress Freya Mavor (best known for her appearance
in the British series
Skins)
in the lead role, as she looks more like Marlène Jobert than
Samantha Eggar. Mavor has a hard job carrying a film in which she
is pretty well the solo player and which is frustratingly lacking in
substance, although she copes surprisingly well despite a script that
could have benefited from at least three more redrafts.
La Dame dans l'auto avec des lunettes
et un fusil is the first film Joann Sfar directed which he did
not himself script, and his directorial excesses looks look
suspiciously like an attempt to compensate for this. Japrisot's
subjective novel would be a challenge for any filmmaker and Sfar is at
least successful in blurring the boundaries between reality and
imagination, so that for most of the film we are unable to tell whether
the lead character is the victim of a carefully contrived plot or just
plainly out of her mind. In the end, it is the overly laid on
second-hand stylisation that ruins the film and makes it seem no more
than an indulgence trip for its director.
© James Travers 2015
The above content is owned by filmsdefrance.com and must not be copied.
Film Synopsis
Dany Dorémus is an attractive redhead who works as a secretary for an
advertising agency. One morning, her boss asks her to drive him
and his family to the airport and then take his car, a Ford
Thunderbird, back to his house. Acting on impulse, Dany decides
instead to drive the car to the coast. As she heads for the
Riviera, she embarks on what will soon become a living nightmare.
In the boot of the car there is a corpse and a gun...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.