Friday’s French music break - Cyril Mokaïesh & Bernard Lavilliers, “La loi du marché”

There’s no doubt about it. This week’s choice for Friday’s French music break is a heartfelt piece of social and political commentary (and that’s not hyperbolising) with a haunting melody and powerful lyrics that would leave only the most insensitive, indifferent.

Inspired by Stéphane Brizé’s award-winning 2015 drama “La Loi du marché” (“The Measure of a Man”) for which Vincent Lindon (deservedly) won Best Actor at last year’s Cannes film festival and a César (the French equivalent of the Oscar) in 2016, Cyril Mokaïesh’s song of the same name sees him pair up with another politically engaged artist, albeit from another generation, Bernard Lavilliers.

And the combination of Mokaïesh (31) and Lavilliers (69) is a stroke of genius.

As is the clip which accompanies the song, directed by none other than Brizé, the man who made the film.

Cyril Mokaïesh (screenshot from official video of “La loi du marché”)

Bernard Lavilliers (screenshot from official video of “La loi du marché”)

“ ‘La Loi du marché’ (the film) marks a moment in our history,” Mokaïesh said in an interview with Le Huffington Post.

“It’s about the difficulty of contemporary existence , the fierce world of work and its injustices.”

So moved was he by the “poetic nature” of the film that Mokaïesh wanted to “make his own contribution”, and in particular express the,“difficult lived of migrants and the way in which society had become dysfunctional” without neglecting structural and social issues in France of course.

You see, a world and-a-half removed from what many other artists have to offer.

“There is no song that can change the course of events,” he said.  “But there is a chance that it (a song) can reveal feelings and unite forces.”

The (overwhelmingly positive) reaction to the song on Mokaïesh’s Facebook page might well be from those who have already been converted to his music and his message. But there’s a strength in both the lyrics and performance that’s undeniable. And Brize’s video clip complements it perfectly.

Maybe there is hope that Mokaïesh’s sentiments, as idealistic as they most definitely are, might be heard by some who are not necessarily natural listeners of his music.

Anyway, here’s a triple recommendation for you.

Firstly, if you haven’t already, try to see Brizé’s film (the first clip below is the trailer): it’s touching and troubling and, needless to say, Lindon is just magnificent.

Secondly, take a listen to (and a look at) Mokaïesh and Lavilliers’ joint “contribution” (the second clip below).

And finally, read the lyrics (in French). “Real” poetry.

"The Artist" - a truly French success story?

It has been the talk of France over the past couple of days, the success of the film "The Artist" at this year's Oscars.

(screenshot from "The Artist" trailer)

The film, directed by the man by with an almost unpronouncable name (pity the poor Americans) Michel Hazanavicius, and starring Jean Dujardin picked up five statuettes, including Best Director, Film and Actor.



Without wanting to appear entirely churlish, how much is the gongification of the film and those involved down to the quality of what was up on the Big Screen and how much is due to a "master of movie industry promotion" Harvey Weinstein?

Is the film really a French success or just another example of how much power Weinstein wields in Hollywood?

Yes it's a film worth seeing. It's enjoyable and in a review when it first went on general release here in France, there was the recommendation here that, "If there's one film - just one single film - you should absolutely go to see this year it has to be 'The Artist'."

It's delightful, immensely entertaining and beautifully shot; "A pastiche…but lovingly made and extremely watchable," is how Screen International described it, and that was pretty much spot on.

When it premiered at Cannes, the long journey to international recognition was given one heck of a boost when Dujardin picked up Best Actor.

With a canny eye for what might appeal, Weinstein had already picked up the distribution rights before Cannes and by the time the film went on general release here in France in October, there were already rumours that it might be nominated in the main section of the Oscars and not consigned to the Foreign Picture category.

Its appeal was obvious.

Although not exactly original in being a silent film (after all how did the industry begin?) it was different enough to the 3D, special FX, kitchen sink sort of blockbuster diet the movie-going public is so often fed.

And what had originally been the very source of Hazanavicius' difficulties when he first came up with the idea in the 1990s but failed to get the funding, suddenly became one of its strengths as the promotional juggernaut switched up a gear.

Different equalled allure.

It paid dividends with the buzz from successive awards ceremonies including Golden Globes, British Baftas and French Césars (although in the case of the last, not Best Actor for Dujardin) combining with a formidable charm offensive to woo the Academy members who vote for the Oscars.

Throw in the theme of the film (Hollywood), where it was shot (Hollywood) and the homage it paid to several other (Hollywood) films and it surely had "winner" written all over it.

Plus there was no real language barrier to overcome.

Yes it is a French film directed by a Frenchman, starring French actors and produced by another Frenchman in the form of Thomas Langmann the son of the late (Oscar-winning) French director Claude Berri.

But equally its success is arguably very US driven.

Although it'll provide an international and financial boost to the careers of those involved especially Hazanavicius, his partner Bérénice Bejo and perhaps most notably Dujardin - provided they're willing to make as much of a commitment to living and working in Hollywood - it's undeniably also a tribute to the power and influence of one man - Harvey Weinstein.

"The Artist" triumphs at the Césars but there's no award for Jean Dujardin

French actor Jean Dujardin might well be among the frontrunners to pick up the Oscar in the Best Actor category but guess what.

He hasn't won the French equivalent, the César.

Those awards were handed out on Friday evening at a luvvies' ceremony event held at Le Théâtre du Châtelet in Paris.

The Césars are definitely not on the same OTT par as their US equivalent but, for the French film industry, they're just as important.

So who won the award for Best Actor?

Omar Sy.

Omar Sy (screenshot from "Intouchables" trailer)

Who, you might be asking.

Well film buffs might be aware that the 34- year-old played one of the lead roles in the French comedy that has taken this country by storm, "Intouchables."

The film made by directors Eric Tolédano and Olivier Nakache took the true story of Philippe Pozzo di Borgo, paralysed from the neck down in a paragliding accident in 1993, and the man he paid to look after him Abdel Sellou and adapted it for the big screen.

It is, in the words of some of the official blurb "the meeting of two 'handicaps' - one physical the other social."

"Following a paragliding accident, Philippe (played by François Cluzet), a rich aristocrat, is in need of someone to look after him. He hires Driss (played by Omar Sy), a young man from the "troubled" inner suburbs of Paris and just out of prison. In short the person least suited for the job. Together they reconcile Vivaldi and Earth Wind and Fire, repartees and ghetto jokes, tailored suits and tracksuits..."

"Intouchables" touches more than just one nerve. It makes you laugh and cry as the performances, especially of the excellent Omar Sy, carry you along. The dialogue is credible, the situation less so - but that's the beauty really because it's based on a true story; Yes fact can be stranger than fiction.

Packing 'em in right from the beginning, "Intouchables" went on general release in France on November 2 and three weeks later, six million people had already seen it.

Queues outside cinemas were long - very long - and booking ahead more than advisable.

And the phenomenon just kept going. To date the film has put more than 19 million bums on seats in France - not bad in a country with a population of around 65 million.

Forget those stuffy US reviewers (such as Variety's Jay Weissberg) who just didn't "get it" (perhaps they don't speak a word of French) and labelled it as running to stereotypes or at worst "racist".

Film critics in France and industry insiders couldn't quite believe how badly the US had seemed to understand the humanity behind the film.

Perhaps they'll be happier when the inevitable own all-American version is made.

A deserved award for Sy, and perhaps disappointment for Dujardin who is, of course, now on his way to Hollywood to try his luck at the Oscars.

There was more than a little consolation for The Artist though as it picked up six Césars on the night including the biggies Best Film, Best Director for Michel Hazanavicius and keeping it in the family Best Actress went to Hazanavicius' partner, Bérénice Bejo.

There were also gongs for The Artist for Best Original Music, photography and decor.

Mélanie Laurent - France's latest singing actress

Mélanie Laurent has released her debut album, En t'attendant.

So what? You might be thinking. Well the fact of the matter is that she's not really a singer - well at least not until now.

And some are not sure that Laurent really is, even after the release of her debut album on May 2.

Mélanie Laurent (screenshot from clip En t'attendant)

The 28-year-old is an accomplished actress and already has one César (the French equivalent of an Oscar) under her belt as most promising actress in the excellent 2006 film Je vais bien, ne t'en fais pas.

Since then Hollywood has sat up and taken notice and she secured the role of Shosanna Dreyfus in Quentin Tarantino's 2009 film Inglourious Basterds.

Laurent has also written and directed films; one of them, De moins en moins, was nominated for Best short film at the 2008 Cannes film festival, which brings us full circle as she'll be maîtresse de cérémonie at both the opening and closing of this year's cinematographic extravaganza on the French Riviera.

Somehow, somewhere along the way, Laurent has also managed to pack in recording her debut album En t'attendant.

The two-year project with the Irish musician Damien Rice resulted in what Laurent calls, "The fulfilment of a childhood dream."

"I didn't wake up one morning and think 'Hey I think I could be a singer'," she says.

And that's probably just as well because the impression you could have of some French actresses throughout the years is that they have had exactly that thought.

The list of those who've had a stab at treating the rest of us to their vocal cords includes (among many, many others) Catherine Deneuve, Brigitte Bardot, Isabelle Adjani, Jeanne Moreau, Sandrine Kiberlain, Charlotte Gainsbourg and Vanessa Paradis.

Some, such as Gainsbourg and Paradis, have made the transition back and forth without any problem.

Others - well perhaps it would have been better had they stuck to their day job.

So which camp does Laurent belong to?

Well reviews for her album have been mixed.

There has been praise for Rice's arrangements and the strength of his voice (on two duets) but doubts cast on the quality of Laurent's and her ability to deliver.

"The album is beautifully made...and often seductive," says Radio France Internationale.

"But Laurent needs to impose her personality more in her voice."

And that's a point of view picked up by Frederic Le Rouzo writing for the French website Le Post.

He applauds Laurent's approach describing it as "simple and modest" but at the same time the impression the listener has, "is of a flat voice, banal...one which does not transmit emotion or make us dream."

"One can only wish her a continued acting career in which she will easily find success," he concludes.

Ouch!

Laurent hasn't taken such criticism well and reacted angrily in an interview with the regional daily Le Berry républicain during Le Printemps de Bourges.

She was appearing at the music festival shortly before the release of her album..

Laurent lashed out at journalists saying that they seemed only too willing to criticise and that it didn't seem to matter someone in the public eye said or did, there were those only too willing to find something disparaging to say.



You can judge for yourselves by listening to the title track of the album.

And cast an eye over the comments from those who really count - potential fans.

Some are enthusiastic but other are far from being gentle with the suggestion that the last thing France needs is "another Carla Bruni-Sarkozy" soundalike.

Ooh. That's a little below the belt.

Tears for the death of Annie Girardot

We're used to scenes of television presenters fluffing their lines or unable to hold back a fit of the giggles for one reason or another.

But it's surely unusual to see one so visibly moved that they're close to tears.

That's exactly what happened during Tuesday morning's edition of the Canal + breakfast programme "La Matinale".

The show's presenter, Maïtena Biraben, had difficulty controlling her emotions, as did fellow journalist Léon Mercadet.

And the reason was quite simple; their reaction to a short montage paying tribute to one of France's most enduring and acclaimed actresses, Annie Girardot, who died on Monday at the age of 79.

Annie Giradot - acceptance speech during Césars in 1996 (screenshot from YouTube video)

Annie Girardot may not be a name with which many people outside of France are that familiar - especially if you're not a lover of this country's cinema.

But she was a giant of the French film industry during the 1960s and 70s, and had a career that began as an accomplished theatre actress, spanned five decades and included more than 120 films for the big screen and over 50 for television.

Girardot starred in six films directed by Claude Lelouch who compared her to Edith Piaf, saying she was the stage "equivalent" of the French singing legend.

Her long career saw her win three Césars - the French equivalent of the Oscars.

In 1977 she picked up the best actress award for the title role in Jean-Louis Bertucelli's "Docteur Françoise Gailland".

And Girardot twice won best supporting actress; in 1996 for the part of Madame Thénardier in Claude Lelouch's "Les Misérables" and again in 2002 when she played Isabelle Huppert's mother in Michael Haneke's "La Pianiste" (Die Klavierspielerin).

Her acceptance speech at the 1996 awards was a "declaration of love" for the French film industry from which she had been sidelined for several years, and it was one that couldn't fail to touch the hearts of those in the audience and viewers at home.

"I don't know if the French cinema missed me," she said.

"But I missed the French cinema...so much."



In 2006 Girardot went public with the news that she was suffering from Alzheimer's and became something of a symbol of the illness here in France especially after the screening in 2008 of Nicolas Baulieu's "Ainsi va la vie".

It was a documentary which managed to bring home the full force of Alzheimer's while remaining a mostly dignified, tender, loving homage to the star.

Baulieu followed the actress and her family until filming stopped in February 2007 when he said that Girardot was no longer aware of the presence of the cameras.

Among the many, many tributes that have been paid to Girardot since the news of her death was announced is that of France's minister of culture, Frédéric Mitterrand.

"She lit the stage as she lit life: with a humanity and a dramatic depth that touched everyone," he wrote.

"Her death is a painful moment for French cinema, which has lost one of its biggest stars, but also for the public, with whom she had a long and affectionate relationship."

Little wonder perhaps then, that both Biraben and Mercadet had trouble holding back their tears on Tuesday morning - and they probably weren't alone.

French film festivals - the Americans are coming!

Less than a week after the announcement that US actor Robert De Niro would jury chairman at the 64th annual Cannes film festival in May comes the news that another American will be "topping the bill" so-to-speak at this year's César awards in February.

Jodie Foster, Berlin 2007 (image from Wikipedia, author Franz Richter)

Actress Jodie Foster will add her very own brand of American flair, in fluent French of course, to this country's equivalent of the Oscars next month as president of the 36th annual César awards ceremony to be held at Théâtre du Châtelet in Paris.

While De Niro's appointment continues a trend that will have seen three out of the last four jury presidents at Cannes coming from across the Pond (Sean Penn in 2008 and Tim Burton in 2010) Foster will become the first foreigner since the late Italian actor Marcello Mastroianni to preside over the César ceremony and only the fourth American ever after Kirk Douglas (1990), Gene Kelly (1984) and Orson Welles (1982)

The choice of the 48-year-old Foster perhaps comes as no surprise as the weekly national Le Journal du Dimanche pointed out on its website.

She is, as the paper reminds its readers, "an accomplished francophone" who studied at the Lycée Français in Los Angeles.

Apart from an acting career which includes the not-so trifling accolade of winning two Oscars for best actress (1988 in The Accused and 1991 in The Silence of the Lambs) and being nominated on two other occasions (for best supporting actress at just 14 years of age in the 1976 film Taxi Driver and again in the best actress category in the 1994 movie Nell) Foster has also directed and produced.

And, as US Daily reports, she is no stranger to French cinema having "appeared in Eric Le Hung's 1977 film Moi, Fleur Bleue (Stop Calling Me Baby (Moi, fleur bleue), Claude Chabrol's Le Sang des autres (The Blood of Others) in 1984 and Jean-Pierre Jeunet's Un long dimanche de fiançailles (A Very Long Engagement) in 2004.

The César award ceremony will take place on February 25 and be broadcast live on Canal + television.

The nominees in each of the categories will be announced on January 21 in Paris.

The double-American whammy should put paid (for a while at least) to those assertions that the French always look sniffily down their collective Gallic noses when it comes to US "culture", although perhaps both Foster and De Niro are noteworthy exceptions to the rule that "The world is turning Disney".



The making of the real The Silence of the lambs






The spoof starring Dawn French and Jennifer Saunders