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Credits
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Summary
An ageing American cartoonists, Joey Wellman, makes a visit to Paris to attend an exhibition
of his work. He plans to meet up with his daughter, Elsie, who is studying at the
Sorbonne, but she has little respect for her father and fails to keep the rendez-vous.
By chance, Wellman meets and is befriended by a celebrated academic, Christian Gauthier,
an admirer of his work and, ironically, the man whom Welmman’s daughter has desperately
been trying to meet for the past few months. Although he is feeling increasingly
uneasy with French culture, Wellman reluctantly agrees to accept an invitation to spend
the weekend with Gauthier and his entourage…
Review
Although pretty mundane when compared with Resnais’ earlier cinematographic achievements,
this is nonetheless an entertaining satire, having the quality of characterisation and
narrative structure we have come to expect of this master of French cinema.
Resnais’s motivation for making this film is his own life-long interest in strip cartoons, a hobby which has far more legitimacy amongst adults in France than probably anywhere else in the world. The main characters in the film are initially presented as almost comic-book creations who evolve into fully blooded human beings as the origins for their extreme behaviour is gradually unveiled. The best instance of this is the central character, Wellman, who appears at first to be the archetypal loud-mouthed American whose first day in Paris is his worst nightmare come true. Wellman, brilliantly played by Adolph Green (the celebrated writer of the Hollywood classic Singin’ in the Rain), appears to undergo a major transformation in the course of his trip to France. However, what changes most is our interpretation of Wellman, how we ourselves see the peculiar little man. This is, if anything, a film about the folly of prejudice and preconceived notions of what is worthy of merit. Bugs Bunny and Madame Bovary are both, in their own way, works of genius. The film is a little marred by some unnecessary comic ideas which appear rather silly and weaken the drama considerably - for instance the lame jealous boyfriend sequence culminating in an awful bedroom brawl. Also, some would lampoon Resnais' curious decision to use a cartoon figure (the increasingly irritating Sallycat) to act as the conscience of the film’s main protagonists. However, the film's greatest source of irritation is its constant flipping between French and English, which results in the film appearing poorly dubbed, whether viewed in its French or English version. However, for all its noticeable weaknesses, the film does have some extremely funny moments which, for some spectators at least, should just about make up for these negative aspects. © James Travers 2001 Write a review for this film... |
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