Summary
When her husband walks out on her, Elisa attempts to kill her young daughter Marie and
then commits suicide. Marie, however, survives, and grows up in an orphanage.
Twenty years later, Marie’s troubled past is reflected in her lifestyle. She and
her friend Solange occupy themselves by shoplifting and generally causing trouble.
When she discovers where her missing father is living, Marie sets out to find him, with
the intention of killing him. When she meets him, he turns out to be not the heartless
brute she had expected...
Review
Élisa is a clumsy but well-intentioned variation on the Lolita theme.
The suggestion of incest earned the film a certain notoriety on its initial release in
France, but this shock value has since lost its impact and, generally, the film appears
somewhat kitsch and dated.
The film was an obvious attempt to launch the acting career of the young model-cum-singer
Vanessa Paradis, and it is apparent throughout that this is the film’s main (some would
argue sole) raison-d’être. Paradis’ acting ability, or rather the lack of
it, is all too noticeable, and this seriously handicaps the film throughout, particularly
in its more dramatic sequences. It has to be said, that Paradis' role in this film
is extraordinarily demanding, and her performance, although unlikely to win many awards,
is not nearly as weak as Jean Becker’s somewhat half-hearted direction.
Where the film is most deficient is in capitalising on the drama inherent in the plot.
Rather than developing some of the more interesting strands into a compelling narrative,
it is more content to flip lazily from one implausible situation to another.
Like many of Jean Becker’s films, Élisa is marred by weak characterisation and
a lack of directoral discipline and focus.
Fans of Vanessa Paradis will doubtless love this film, in which she appears with that
icon of 1990s French cinema, Gérard Depardieu. The pairing is not as disastrous
as you might expect, with Depardieu somehow managing to bring out the best in his far
younger co-star.
© James Travers 2000
|
