A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Tuesday, November 19, 2024

Emilia Pérez (Jacques Audiard, 2024)

Zoe Saldaña in Emilia Pérez

Cast: Zoe Saldaña, Karla Sofia Gascón, Selena Gomez, Adriana Paz, Edgar Ramirez, Mark Ivanir, Eduardo Aladro, Emilio Hasan. Screenplay: Jacques Audiard, based on a novel by Boris Razon. Cinematography: Paul Guilhaume. Production design: Emmanuelle Duplay. Film editing: Juliette Welfling. Music: Camille, Clément Ducol. 

While I was watching Emilia Pérez I was caught up in the audacity of its neat intermeshing of drama with song and dance, but when it ended I felt let down. Jacques Audiard accomplishes what he set out to do: tell a story about a drug lord who transitions from male to female in search of authenticity and redemption. And he does it with the help of superb performances by Zoe Saldaña, Karla Sofia Gascón, and Selena Gomez, and witty choreography by Damien Jalet. But the film is all surface: It doesn't treat its characters as real people but rather as figures in a neo-noir melodrama laden with contemporary attitudes about sexuality and identity. The ending is far more conventional than I expected from such an interesting premise, turning the premise into a gimmick.

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