Au Revoir Les Enfants
The great director Louis Malle is so often overshadowed by his cultier French New Wave colleagues. His The Lovers and Elevator to the Gallows, both made in ’58, preceded Godard’s Breathless and Truffaut’s The 400 Blows by a year. But while both directors were heavily inspired by him, their film debuts are always much higher ranked by film historians. After Malle’s first two near-classics he had some hits but didn’t start making timeless films until the '70s, with his fearless Murmur of the Heart (still cinema’s best coming-of-age incest flick) and Lacombe, Lucien (about a Nazi-loving French kid). Malle went on to do something none of his peers did; he made several American masterpieces, his quick trilogy from '78-'81 including Pretty Baby, Atlantic City and My Dinner With Andre. They were some of the best films of the era. He also married American actress Candice Bergen (though his woeful follow-up, Crackers, with Sean Penn, is thankfully forgotten). Finally, after a few documentaries, he returned to France for one of his best films, the apparently autobiographical WWII youth drama Au Revoir Les Enfants (“Goodbye, Children").
Malle’s younger self can be seen in the hero of the movie, the twelve-year-old Julien Quentin (Gaspard Manesse). This is the kind of three-dimensional child character that cinema rarely gets right; he’s certainty an equal to François Truffaut’s alter ego Antoine Doinel. He’s cool, he’s kind of a rebel, but he’s also an observer, a reader and a thinker. These are traits that we are never told about, but we are able to see with small gestures. And to make things even more complicated, underneath his confident class clown act he’s also a deeply sensitive mama’s boy. He slowly befriends the new kid at their Catholic boarding school, the shy but obviously very intelligent Jean Bonnet (Raphael Fejto), whom it turns out is actually Jewish (posing as a Protestant). He’s one of three students being hidden by the priests from the occupying Nazis. They develop an interesting bond and the usually selfish Julien comes to empathize with Jean, but like many young people, he still has to overcome his own issues and insecurities before it’s too late.Continue Reading
O.J.: Made in America
For nearly ten years ESPN’s documentary series 30 for 30 has been the source of some of the most important docs on sports ever made. What usually makes them transcend the sports doc genre is the complexity of the subjects beyond athletics. And now, turning that transcendent quality up to an eleven in ESPN’s nearly eight hour, Academy Award-winning epic O.J.: Made in America they have created a true all time masterpiece. It's directed by Ezra Edelman, who previously made the terrific basketball doc Magic & Bird: A Courtship of Rivals for HBO Films, another good source for sports docs. Beyond the story of a trial, this is the story of a culture and its obsessions with race, celebrity, lust and politics. It's so rich in detail and history, it takes a couple hours before we even get to the murder of Nicole Brown and Ron Goldman.
Even within its first two hours the film stands up to the measure of greatness, explaining O.J. Simpson’s story, his relationship to fame and racial conflict in America (especially in Los Angeles) -- a conflict he does everything he can to stay away from. For all intents and purposes the story begins with O.J. becoming a superstar college running back at USC. His life as a young black man in Los Angeles comes on the heels of the Watts Riots (or uprisings, if you will). While the backdrop of political assassinations and the Vietnam war dominates most university experience in this era, the mostly white and well-off world of USC is deep into O.J.-mania. And O.J., a kid fresh out of a San Francisco housing project, adapts perfectly. He has a million dollar smile and articulates all the right clichés, including a clean-cut marriage to his high school sweetheart, Marguerite, making Madison Avenue advertisers drool. As a pro player stuck in Siberia (or Buffalo, NY), it takes a few seasons for O.J. to break out, but when he does, he becomes a superstar player and an early icon of athlete-as-advertising-pitchman. He also dabbles in film, taking not-too-embarrassing supporting roles with the all-star casts of The Towering Inferno, Roots and The Cassandra Crossing and the solid B-casts of The Klansmen and Capricorn One. By the time O.J. retired from the game at the end of ’79, he had a number of NFL records on his resume, as well as a solid looking post-football life lined up.Continue Reading