FESTIVAL IN CANNES
US, 2001, 100 minutes. Colour.
Anouk Aimee, Greta Scacchi, Maximilian Schell, Ron Silver, Zack Norman, Peter Bogdanovich, Jenny Gabrielle, Alex Craig Mann.
Directed by Henry Jaglom.
Henry Jaglom has made a film every two years or so since 1971, A Safe Place with Tuesday Weld and Jack Nicholson. He began as an actor in Hollywood, worked as an editor on Easy Rider, writes most of his own films which are independently produced. He has eccentric characters, he also has many long conversations in his films. One of his regular actors is Zack Norman who appears in this film as a would-be loudmouthed Hollywood producer, a role he continued in two other films for Jaglom, Hollywood Dreams and Queen of the Lot.
Jaglom filmed at the actual festival in Cannes in 1999. The city shows up very well, the hotels, the Croisette, the streets and traffic, the sea, as well as the posters for the contemporary films.
Using the festival as background, Jaglom presents a range of moviemaking characters. Anouk Aimee appears as the ageing actress who is being offered a cameo role in a Hollywood blockbuster with Tom Hanks but is attracted by the pitch made by actress, Alice (Greta Scacchi), a smaller role but a lead for an older woman. Maximilian Schell plays a director, something of a playboy, who has been the actress’s husband. Ron Silver dominates his sequences as an ambitious Hollywood-type producer who is in a financial bind and needs a star for his film. Peter Bogdanovich appears as a Hollywood director.
The film has a lot of conversations, a lot of talk about writing, acting and directing. It also has a lot to say about big money, confidence men posing as producers, smart-speaking for deals.
The film is entertaining for an older audience, interest in the rather more upmarket cast than in other Jaglom films, the issues of the film industry and finance.
1. A movie story? The movie-makers and Jaglom’s insights into the film industry? Independent films, studio films? Budgets and deals?
2. The insight into characters, productions, directors, stars, producers and agents, the nature of deals and making them – and the atmosphere of bluff?
3. The title, Cannes 1999, the documentary atmosphere of the photography of Cannes itself? Real, the city, the locations? The red carpet to the theatre? The posters, the hotels?
4. Audiences interested in the festival? In the kind of people there, the events, socialising, industry?
5. Greta Scacchi as Alice, the background of writers, her friends collaborating on her screenplay, her sincerity, earnestness, interest in her script? Her plans? The need for money? Her character, her past career and success, her hopes? Her story about the family and the older woman and what happens to her? Her explanation of the plot? The focus on the ageing woman? The possibility for older actresses?
6. Kaz and his type, Zack Norman and his exuberance, intruding into the conversation, acknowledging Alice, his swift talk, overbearing, his lies about money, the idea of the film, his assurances, his promises, the phone calls, the setup for the interview with Millie, his presence at the interview, the clash with Rick Yorkin? A callow man? Taking up with Rick’s assistant? With Gina on the rebound from Viktor? His promises to make a star of her? Her telling the truth about her callgirl background, his telling the truth about himself? His double-deals – even to getting Alice from the director’s role?
7. Millie, her career, her relationship with Viktor, the roles for women of her age? The approach by Kaz, with her publicist, waiting for the interview, meeting Alice, responding well to her story? Wanting to do the film? Rick and his discussions, the offer for the cameo role? The need for her presence to get Tom Hanks and the French actress? Wanting to think it over, the discussions with Viktor? Her relationship with him, her tolerance, her observing Gina? Her reaction to Viktor’s change of mind about her taking the role? Her real desires to do Alice’s film?
8. Viktor, Gina as his girlfriend, the encounter with Kaz, Gina wanting to stay at the party, Viktor going off, his discussions with Rick, the offer of the directing of the Hollywood film, talking with Millie and trying to change her mind?
9. Rick Yorkin, his manner, the appointment, his assistant, the phone calls, his appointment, meeting Alice and their past experiences, with Millie, the proposal, the issues of money, his needing time for making the contracts? The producer wanting the signatures in writing? The encounter with Blue, the possibility of her being in the film? The clashes with his assistant? Getting rid of him? The final sequence with Alice – credible or not?
10. Blue, wandering around Cannes, looking at things, on the outside, her film, the buzz about it, her meeting with Rick’s assistant? Together, in love? His wanting to be her agent, using her, his opportunity, the discussions with Rick?
11. Rick’s assistant, his hopes, ambitions, Rick supporting him, meeting Blue, in love with her or not, wanting her career to be successful, the interactions with Rick, with Blue?
12. The director, Milo, his reputation, the discussions about direction and films?
13. Audience impressions of the film industry, irrespective of actual films and people? A sardonic look at movies and their makers?
