Paris, oh how much, Je T'aime!

 
Paris Je T’aime (Paris, I Love You) is a film about just that: Paris and love and everything in between. The film is an ensemble of eighteen short films made by different filmmakers, each with their unique perspective on love and what is known as the city of love. These films represent eighteen of the twenty arrondissements (districts) in the city and depict a variety of characters across races, nationalities and language groups. The film is both segmented and integrated beautifully by establishing shots of the different arrondissements in the city.  The short film is a powerful medium and the filmmakers use it to the hilt to put forth a premise, raise questions and allow the viewer to reflect without taking away from the over all experience.

Dissecting every one of the eighteen films in this review is hardly possible. However, there are a few that caught my eye that I would like to discuss in detail for their innovative and superior storytelling. A personal favourite is Parc Monceau by Alfonso Cuaron. 

 The film opens at the beginning of a long street where a young woman and a much older man are having a conversation. They both talk about a certain “Gaspard” who wouldn’t approve of their meeting and as an audience we automatically begin to fill in the gaps. The director involves us so much in the conversation, we assume the obvious and the director smoothly proves us wrong with a surprise ending. The beauty of Parc Monceau lies in how it easily pays a tribute to the legacy of French cinema without distracting from the action of the film. The entire film is in the form of one long take where the camera captures the two characters in conversation using one deft tracking shot, paying instant homage to the style of French New Wave film makers like Goddard and Truffaut. It also bears in mind the French legacy of mise-en-scene and as the two characters walk past a video store in the street, we see posters from films by other filmmakers from Paris, Je T’aime. 

Another film that eloquently interprets the overall theme is French animator Sylvain Chomet’s Tour Eiffel. Although the film is shot in live action, it makes apt use of visual effects to tell the story of two mimes falling in love with each other while in prison. Chomet makes use of several dissolves and elliptical editing to emphasize the comic-book style packaging of the film and ambient sounds make the entire pantomime seem tactile and real. This silent film is an excellent example of the scope of cinematic storytelling. Hippolyte Girardot and Yolande Moreau do full justice to their roles as mimes and bring the imagined physical worlds of their characters alive.

Tom Tykwer’s Faubourg Saint-Denis is another unique interpretation of the theme portraying a romantic relationship between a blind young boy William (Rufus Sewell) and an aspiring American actress Francine (Natalie Portman). The transitions in their relationship are captured beautifully by both metaphors in the dialogue as well as in the action. Their relationship is compared to the changing seasons and  we watch as the two of them move physically apart from each other until there is no “them”. Tykwer uses low speed shots and elliptical editing to augment William’s oral storytelling style.

Joel and Ethan Coen’s Tuileres is a fine representation of the outsider’s experience of Paris. The filmmakers cleverly cut subtitles to make the non-French speaking audience party to the perceptions of a paranoid tourist in Paris. The film ends with a beautiful B-roll of lights going out in the Parisian streets that contradicts the very first line of the film: Paris is the city of lights. Gurindher Chadha’s Le Marais, Gus Van Saint's Loin du 16e, Chris Doyle’s Porte de Choisy and Oliver Schmitz’s Places des Fetes paint a cross racial picture of Paris in different ways. Vincenzo Natali’s  Quartier de la Madeleine makes a fun new twist on the vampire romance. Packaged in the B-grade film noir style, Natali uses VFX and (heart shaped) iris shots to make the film seem comical. Pere la Chaise, Pigalle, Quartier Latin and Bastille take an interesting look into long-term relationships and the latter has an exceptionally touching narrative. 

Finally, Alexander Payne’s 14e Arrondissement finishes the film with a gorgeously subtle performance from Margo Martindale capturing the experience of a single American tourist in the city of love. Her concluding lines, “…That was the moment I fell in love with Paris and the moment that I felt that Paris had fallen in love with me” have the power to move you. The film ends with a montage that connects the characters of different films to one another, pulling them all into one unifying thread.

Paris Je T’aime proves to be an interesting experiment in filmmaking. The format of the short film has clearly challenged the filmmakers and they explore loneliness, love, attachment, nationalism, belongingness, youth, passion, marriage, art and various other ideas through the visual medium. Taken together the films are much like the city they’re inspired by: a melting pot of cultures, arts and perspectives.

Bourne to Kick Ass - My thoughts on The Bourne Identity

A man assumed dead is found off the coast of Marseilles by a couple of men in a fishing trawler. In the course of nursing him to health, one of the men finds a bank account number in Zurich implanted in a device in his hip. The anonymous man in question has lost his memory and this bank account becomes his first clue to finding out who he is.

The man, as we later find out, is Jason Bourne (Matt Damon) and his search for his identity forms both the basic conflict and the driving force behind his actions. He is joined in this journey by Marie (Franka Potente) and the search takes them across Switzerland and France in her little red car. The opening of the film itself sets the tone for this action/adventure/mystery and Director Doug Liman keeps his audience on the edge of their seats through the 118 minute run time. The film, based loosely on a novel series by Robert Ludlum, has a tight screenplay. Writers Tony Gilroy and William Blake Herron balance a sensitive depiction of Bourne’s identity crisis with the fast paced action of the film deftly so that the final product has not one boring moment.

*TINY TRIVIA THING: The film's title does not appear anywhere in the DVD version (in keeping with the lost identity theme, perhaps?)

The Bourne Identity does not stick exclusively to the action genre. Even though it involves a brilliant car chase sequence, fugitives on the run from cops, an escape from a heavily guarded American consulate that literally puts the hero on a ledge and a climax where he battles deadly CIA assassins, the film does not shy away from tender moments. Take the beautiful circular tracking shot that almost seems to envelop Jason and Marie in a bubble of their own conversation outside Paris. Or the scene outside his house in Paris where Marie worries that he will forget her, to which he eloquently replies, “How could I forget about you? You're the only person I know.”

Liman tackles the question of Bourne’s identity with sensitivity. The film develops gradually till the park scene in Zurich. Here, after he has attacked two cops with their own gun, the film picks up speed as an amnesia-affected Bourne tries to piece together clues to his identity. Liman uses mirror images as a recurring motif through the first half to reiterate the question of his identity. In a spectacular scene where Bourne escapes the American consulate by scaling the building, the precariousness of his situation us amplified by the soft piano music that plays in the background. At the same time, this subtle music also brings attention to the ease with which Bourne pulls off the stunt. In fact, John Powell’s music is minimalist through the film and he often relies on ambient sounds to create the eerie jerkiness of a thriller.

Director of Photography Oliver Wood captures scene after scene with great dexterity. He makes unabashed use of canted frames and handheld style movements where necessary, to give you the feel of being a part of the action. True to any good thriller, he employs covert shot angles that give the constant feeling that Bourne is being watched. During the scenes between Jason and Marie, he often uses extreme close-ups to augment their intimacy.

Editor Saar Klein keeps the pace and flow of the film smooth with parallel editing and unobtrusive cuts. He infuses the film with gorgeous establishing shots of different cities across Northern Europe that the audience follows Bourne to. In one of the Treadstone office scenes, he even employs a daring jump cut on a simple yellow pin. The film ends on a surprising note, leaving us with unsolved mysteries for the sequel.

A highlight of the film is the car chase sequence through the streets of Paris. Quick and smooth inter-cutting, some great point of view shots and a snappy background score, together make the scene an absolute edge-of-the-seat success.

The film is a must watch in its genre. It is exciting and action-packed and yet manages to cater to a cerebral audience that does not want to leave its brains at home.


Director: Doug Liman
Screenplay: Tony Gilroy and W. Blake Herron
Based on a novel by: Robert Ludlum
Director of Photography: Oliver Wood
Editor: Saar Klein