Daily Archives: April 19, 2011

What War May Bring (Ces amours-là France 2010)

Ilva (Audrey Dana) with one of her lovers, Horst, a German officer (Samuel Labarthe)

Back in 2007 UK independent distributor Revolver had a big hit with the French thriller Tell No One. Since then they’ve tried to repeat the process with varying degrees of success (i.e. the romcom Heartbreaker). Revolver’s initiatives are to be welcomed if only because they are looking at ‘popular’ French product that the more art-orientated independents ignore. What then to make of this DVD release of the 43rd film by Claude Lelouch? I mention the ’43rd’ tag only because Lelouch himself tells us this in his voiceover that accompanies the credits. We also learn that he’s been in films for 50 years. He’s something of a forgotten figure in the UK, remembered mainly for Un homme et une femme which was an international smash hit in 1966 – and an Oscar winner. Twenty years later he offered a less successful sequel but apart from that his films haven’t been particularly successful in the UK. In France his critical reputation has never been high but his films are usually well-produced and often with big stars. Somebody has been watching those 40 plus films, so Lelouch appeals to certain audiences. His last big hit was Hommes, femmes, mode d’emploi in 1996 and What War May Bring lasted three weeks in the French box office Top 20 in September 2010 making around $2 million.

Revolver are trying to sell this film as a ‘war epic’ and indeed there are some action sequences of the D-Day landings and the final allied push into Germany in 1945, but primarily this is a story about a woman who “loves too fast”. This quote from the film might have provided a better title (the French title is not easily translated, but the original English title ‘What Love May Bring’ would have worked). The woman in question is Ilva who arrives in Paris as an 18 year-old refugee from Italy in 1936. Ilva’s mother marries a cinema projectionist but then dies a few years later. The film’s narrative is actually presented as one long flashback and it follows Ilva through the war years and into the postwar world. She loves ‘quickly’ and dramatically five men against the background of war – and cinema. The cinema scenes are beautifully rendered and a character clearly intended to be Lelouch himself appears as a small Jewish boy being sheltered by the projectionist and his daughter (this is a rather wonderful ‘live-in’ cinema with an apartment in the same building). The same boy appears as a grown-up film student in the 1950s, like Lelouch travelling to Moscow to shoot footage secretly and provoking a bizarre montage of seemingly all the love stories in Lelouch films which is inserted into the narrative! In fact the film is stuffed with these kinds of inserts and jokes about the history of cinema as well as posters and dialogue references to important films. Lelouch would like us to think that this is his tribute to cinema – his response to Truffaut amongst others – as much as his own experience of it.

There are several pluses in the film. Audrey Dana as Ilva is always watchable and holds the film together through her performance. She looks right for the part, ages convincingly and I could certainly believe that the male characters would fall for her. As well as the magical scenes set in the Eden Palace cinema (very effective screenings of classics like Le Jour se Leve and Hôtel du Nord in a beautiful cinema) there is music running throughout the film offering a history of French popular and romantic music – some of it composed by Francis Lai who has worked with Lelouch since the 1960s and some by Laurent Couson who plays a pianist and one of Ilva’s love interests in the film. The DVD looks great in CinemaScope. IMDB suggests that much of it was shot in Romania and there are certainly some epic sequences which reminded me of Jean-Pierre Jeunet’s Great War story A Very Long Engagement (2004). However, . . . I’m not sure that it works as a whole. Lelouch presumably sees this as his swansong. The publicity tells us it has been 10 years in the making. The cast and crew include several members of the extended Lelouch family. The story is written by Lelouch with Pierre Uytterhoeven also with Lelouch since the 1960s and Anouk Aimée (star of Un homme et une femme) has a cameo role. The tone swings between war, sex/romance, comedy and music. I hadn’t realised that Lelouch is from an Algerian-Jewish background and he draws on this for the elements of the film that seem to refer to the recent surge in films exploring the French Jewish experience of German Occupation. But these elements are only marginal to the central story, as are the plotlines dealing with the Resistance. Lelouch tends to lose the emotional impact of these narrative threads in switching to add something else to Ilva’s story (including an extraordinary sequence set in Texas). Researching the earlier Lelouch films suggests that this does seem to be his method – film narratives with lots of characters and romance relationships dependent on twists of fate. In a sense What War May Bring is essentially that – how some survive war and others do not all filtered through music, cinema and romance.

In short, if you are a Lelouch fan you should enjoy this. If you are simply a film fan you’ll be interested in the filmic references. Those intrigued by the idea of ‘popular’ French Cinema may find the film attractive and enjoyable in parts but not totally coherent and if you are a French film scholar you’ll find it to be a strangely fascinating generic hybrid with a rather absurd postmodernist edge as the ‘author’ inserts himself into the story.

The UK DVD/Blu-ray is released on May 2nd from Revolver. It will also be available for rent and online download.

The UK trailer can be downloaded here. It gives a good view of the battle scenes but not the central romance (and love of cinema).