ANNETTE

 

Opening this year's Cannes Film Festival was none other than Leos Carax's latest, “Annette”, an unusual musical that was predictably hit with middling reviews. Being a fan of Carax and his movies, the critical reaction to the film didn't worry me, as it seems to be par for the course for both Carax or any film that is a little different from the norm. That said, I did have some hesitancy about whether or not I was going to like “Annette”, but I could not put my finger exactly on why. There was never any doubt that I was going to see the film, but perhaps its extended running time and the fact that this was a long-in-gestation project for the obscure director that had many false starts, I'm not sure, but it made me nervous. Still I was immediately excited when the film was announced as one of the MIFF “headliners”, and then just as immediately crushed when I realised that I wouldn't be able to attend that screening. However, with Amazon Prime's release of the film soon approaching, I wasn't as gutted as I normally would be, as I knew I would have the opportunity to see “Annette” very soon.

“Annette” is the story of a romantic couple, both of them artists, who fall deeply in love and soon marry. At the top of their respective industries, Henry is a stand-up comedian while Ann is a sublime star of the opera. From the outside it appears that the couple are on top of the world and have everything. And that turns out to be true. More happiness enters the couple's life when Ann falls pregnant and gives birth to their daughter, Annette. As anyone who has had a child knows, this soon puts a strain on the relationship as our couple must overcome their own tiredness and a work schedule that doesn't leave much time for anything else, let alone each other. One night however it is discovered that Annette possesses an incredible, if unique gift, that will change all their lives forever.

As I mentioned above, I was initially worried about how I was going to receive this film, but as soon as the opening number, “So May We Start”, begun I knew that I was going to absolutely love “Annette”. This amazing moment sees director Leos Carax along with his daughter, the Sparks, and the cast and crew of “Annette”, including Adam Driver and Marion Cotillard front and centre, strutting down a street belting out this number, before Driver and Cotillard get into costume for their opening scenes of the movie true. It is such a sensational and bold opening to a movie, that I instantly fell in love with it. And I stayed that way until the film finished some two hours and twenty minutes later. At one stage I was a little embarrassed when I realised I was sitting there watching the film with the biggest, goofiest smile on my face; I just adored “Annette”. It is such an odd and original, one-of-a-kind type film, and because of this, I admit that it will not be for everyone. Those that are on the positive side of “Annette” are going to love it, and likewise, for those that are not, they are likely to hate it! Make no mistake, “Annette” is going to be divisive, but it is definitely worth seeing, because it is never boring; this thing crackles with energy.

Initially “Annette” was not planned as a movie, but as either a stage play or an album by the Sparks. Written by Sparks members, Ron and Russell Mael, they only started thinking of it in terms of a film after a meeting with director Leos Carax who had used a Sparks song in his previous film, “Holy Motors”. Years passed and before Marion Cotillard stepped into the role of Ann, it was offered and accepted by Rhianna, then Rooney Mara, and then Michelle Williams who all left for a variety of reasons. When Adam Driver was then cast as Henry McHenry, the production then had to wait for the actor who was tied up with his commitment to “Star Wars”. However, it was definitely worth the wait. What I do find interesting though is personally I felt that Driver and Cotillard lacked chemistry when together, but in scenes by themselves, they were sensational. I have stated many times that I think Marion Cotillard is a luminous presence onscreen and you cannot take your eyes off of her. This remains true here, and the way that she has been lit and shot by Carax and cinematographer Caroline Champetier, reminds of the way women where shot in old Hollywood. She is stunning, and she also has an incredible ability to make you feel deeply for whatever character she is portraying. Driver, an actor I am fond of, has the more difficult role of the two with his character having a much larger arc, going through many changes throughout. This is a man who starts at the top, and slowly self destructs but then finds a way back to the top through his daughter's amazing gift. You can feel the weight of life in Driver's performance, but there is also an arrogance to this man, an ego that defines him, where he believes that he should be at the centre of everything, and if he is not, he considers this a failure. In regards to their musical abilities, well I have mentioned before that I know very little about music, but to my ear I did not think that Driver or Cotillard were any sort of musical prodigy, but it doesn't matter because their rough, unpolished voices just work for this film and story. Obviously, Cotillard's has to be stronger from a story perspective because she plays the star of the opera, but the lack of perfection in both of their voices works here and was something apparently Carax was passionate about (and one of the few things the Sparks disagreed with him on). I need to mention one other actor who shows up late in the film, Simon Helberg, who plays a character known only as “The Accompanist” and is just outstanding. He is part of a key highlight of “Annette” when he graduates from accompanist to conductor and tells us, the audience, of his love and past affair with Ann (before she met Henry), all the while excusing himself mid-story to conduct the orchestra in front of him, while Carax's camera continually swoons around him.

So what about Annette herself? Whenever I talk about this movie to people the word I constantly use is “bold” but the boldest decision in “Annette” that Carax makes is to have Annette, herself, played by a puppet, and yet it makes sense from a narrative point of view too. As the movie goes along, Annette's parents treat her more like a puppet as they use her in ways that best help themselves, rather than seeing her as her own little self. There is no doubt that they love the girl, but they become something like showbiz parents. I do not want to go into too many details about Annette, both the character and movie plot, because one of the things I loved most about “Annette” was that I was constantly surprised by where it went and at times was a lot darker than I was expecting from a story about love (although, being a fan of Carax, you have to wonder why I was surprised as he has always told stories about love that are full of pain). Anyway, back to the puppet. I will admit that it is here that some audiences will check out of the film, and my first reaction was one of shock when I saw the “girl”. But it is so well done, as we see Annette grow and interact with both Driver and Cotillard in a way that seems very natural. It also makes sense that this role couldn't be played by a human being when it comes to her “talent”.

As of yet, I haven't focused on Leos Carax's contribution to “Annette” too much, and while this story may not have originated from the man, the film itself is a Carax film through and through. There is no doubt about who the author of this film is. The way he shoots things, the energy the film has, the eccentricities, his continued obsession with the colour green, the darkness and pain he associates with love (but you can tell that he feels it is all worthwhile); it all screams Leos Carax. As most would know, he is a director that doesn't make films very often, so when a new one arrives, it is something to get excited about, especially since his cinematic voice is a true original; no one makes films like he does. He isn't afraid to go outside the norm, to be different, and that is why so many of us that love cinema, champion his films. “Annette” is his first film in nine years since “Holy Motors” came out in 2012, and it is also his first film that has been shot in English too, and frankly I think it is his best film yet. It is certainly my favourite of his. Sure, it is true that Carax is prone to excess here, but my god, is that excess glorious!

“Annette” is a musical, and as we know music is not my strong point, so it will be no surprise when I tell you I had no knowledge of the Sparks before this film, but I was very impressed by what was delivered by them here (and will now search out Edgar Wright's recent documentary on the band). The songs themselves, in terms of lyrics, are hilarious as they often describe banal, every day things in life, set to music but I loved it. Watching Henry McHenry being combative with his hostile audience in song is just brilliant, as is Henry and Ann's love song where they describe how in love they are, but cannot explain why they are in love. Again, the opening number is also genius. Yes, this is a musical, with the majority of the dialogue being sung, but this is not your traditional musical. It is very odd and out there, both musically, lyrically and yep, even tonally. This isn't your mother's musical, but I cannot stress enough just how amazing “Annette” is.

Overall, in case you couldn't tell yet, I found “Annette” to be a stunning film experience. I must admit though I am a little bummed that I did not first see this on a big cinema screen, because it just screams for it (it is also the only Leos Carax film where my initial viewing hasn't been on a cinema screen). Hopefully I have been very vague in regards to the plot of the film as one of my favourite aspects of watching “Annette” was going in cold and being surprised by where it went. I will say though I appreciated that it wasn't just a musical of fluff and laughs and that it highlighted just how tough life can initially be when a child enters your life for the first time, and how mentally taxing it can become when the careers of our loved ones go in opposite directions to one another. This will be a divisive film, but there is no doubt that I loved every second of “Annette”, and that Leos Carax was a deserved winner for Best Director at this year's Cannes Film Festival. Let's hope we do not have to wait another decade for his next film.

4.5 Stars.