Even
though it’s wonderful, this film is very much the most unconventional of
Jean-Pierre Jeunet’s moives, in that it is
so conventional. By that, I mean its
sense of whimsy isn’t quite so off-kilter, the visuals, while stunning, aren’t
Jeunet’s usual brand of kooky beauty, and on the whole, the film is grander and
more sweeping than his others. It’s also
his only film based on a previously-written work, which I’m sure has a lot to
do with it, but he strikes a fine balance between telling the story as it needs
to be told and infusing it with his own sensibilities.
It is
1920, three years since Mathilde’s fiancée Manech was reported dead in WWI, but
she still refuses to believe it. When
she learns that Manech was in fact court-martialed for self-mutilation, and
that he and four others were sent over the top for execution via no man’s land,
she’s more determined than ever that Manech somehow escaped with his life. She begins a tireless investigation into the
events of that day, meeting secrets, coverups, and misinformation at every turn
but bound to keep digging until her efforts bring Manech back to her.
This is
a beautiful film that deftly mixes a handful of genres. It is by turns a war drama, an amateur
detective story, an epic romance, and a light comedy, and it moves seamlessly
through changes in tone and tenor. I
found it a little tricky to follow my first time through, if only because
characters tend to run together in war movies and I had a bit of trouble
keeping track of who was who. By now,
though, I’ve seen it several times, and I love how well the mystery
unfolds. The various reveals Mathilde
uncovers take her forward and backward in her crusade at a nice pace, and the
whole puzzle hangs together wonderfully well.
There are elements here that are very
Jeunet. I enjoy his visual creativity,
such as Mathilde’s fantasy playing out like a silent movie and the neat
execution of the “sunglasses” murder.
The flashbacks of Mathilde and Manech’s relationship offer a love story
that fits in with Louison and Julie, Amélie and Nino, and Bazil and the
contortionist. As usual, I also love the
fanciful details Jeunet includes, like the bartender’s wooden hand, the running
gag with the mailman, and the assorted “deals” Mathilde tries to strike with
fate on Manech’s behalf. Where it
departs from Jeunet’s usual fare is in an overall more grounded tone –
understandable, given the WWI setting of the flashbacks. Even though the story it tells is still
fantastical, the world it inhabits feels more plausible than that of Jeunet’s
other films. Some might call it a
“mature” film for him, but that would make it sound like a slight to his
others, which isn’t the case. He’s doing
something different here, while still injecting the movie with a little of
himself, and he does it very well.
Plenty of
Jeunet’s regulars in the cast, including Dominique Pinon, Ticky Holgado, and
Jean-Claude Dreyfus, with Audrey Tautou as an excellent Mathilde (I still
prefer Amélie, because who wouldn’t, but she’s really great here.) The film also features Jodie Foster,
performing in what sounds like good French to my untrained ear, and a terrific
turn by Marion Cotillard prior to her Oscar win and subsequent heightened
profile in Hollywood.
Warnings
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