Ciné Lumière played fabulous host last week to a special preview screening of The Extraordinary Adventures of Adèle Blanc-Sec, directed by Luc Besson, followed by an on stage Q+A with the leading lady of the movie Louise Bourgoin. With her sister kindly playing translator for us non-natives she revelled in the talk creating a fun and open environment for her host and the audience members. A playful vivaciousness exuded from her and she had the charismatic charm significant in all French leading ladies.
Adèle Blanc-Sec, originally a comic, was a tough adaptation for the fledgling actress and her veteran director. Louise spoke sincerely about the expectation in France of the role she was playing, so heightened by Adèle’s cult status. Through the hand of Jacques Tardi, Adèle has become an enduring icon of French literature and much like Tintin, her most obvious male comparison, has now been seized for a new medium.
This new medium provided a challenge as certain things were expected by the existing fan base. Louise spoke of iconic images of Adèle such as her reading her mail in the bath or downing a double whisky that were characteristic of the on page character and thus must become characteristic of the on screen equivalent. Besson however felt the character of Adèle to be far too one-dimensional and one that audience members would not relate to. Given her hatred of people and her bad attitude towards her peers in the comic Louise also felt it was only understandable to expand this character and envelop some more warmer traits. Warm traits Bourgoin most certainly manages to convey in the film itself.
As her director Louise asserted that Besson was a man of precision and choreographed timing; an extremely demanding director but a joy to work with also. Such actions as taking off of a glove had to be minutely detailed to fit the layout and background of the shot. Besson’s precision is certainly clear in the stylish and wonderfully shot scenes of the Parisian buildings and apartments, as well as a frenetic game of tennis with dramatic consequences.
Bourgoin and Adèle add to the rich tapestry of strong female characters that Besson so enjoys animating on screen. His characteristic gender subversion has created protagonists like Mathilda in Leon: The Professional and Nikita in La Femme Nikita that remain female character studies of the highest degree. Once again Besson has plucked an actress out of relative obscurity to invigorate with independence, flair and a wit to surpass her male co-characters.
French film is best known for its two hallmark genres. Either films of gritty social realism that expose the truth behind Parisian picturesqueness, or contrarily, films of a whimsical, fairytale nature. Besson’s latest work falls firmly in the second category and is an enjoyable romp.
The Ciné Lumière, part of the Institut Français du Royaume-Uni, is a tucked away gem of cultural explosion in South Kensington. Operating as a movie melting pot for the best in all world cinema it is a must do evening out for any eclectic cinema lover.
From the 2nd – 9th June 2011 the Institut Français will once again play host to the Mosaïque Festival exhibiting the best in inspiring new world cinema, music and talks. Films fresh off the festival circuit take the chance to slow down the pace at the Mosaïque Festival allowing for a wonderful opportunity to meet the writers, directors and musicians that create these masterpieces.
