PARIS BY NIGHT
UK, 1988, 103 minutes, Colour.
Charlotte Rampling, Michael Gambon, Robert Hardy, Iain Glen, Jane Asher, Andrew Ray, Linda Bassett.
Directed by David Hare.
Paris By Night was written and directed by playwright David Hare. His other writings for the screen include Plenty, Saigon, Year of the Cat and he directed his Strapless and Wetherby. His work is strongly critical of Britain and its social history, politics. This film, particularly, focuses on Mrs Thatcher's Britain.
All of Hare's works offer very strong characters for women actresses. Here Charlotte Rampling is at her best as the Tory politician, a firm woman who wants control of her life as well as her work in politics. She is married to an ineffectual and alcoholic British politician while she works for the Common Market. Michael Gambon is excellent as the weak politician (in contrast with his performances in The Singing Detective and The Cook, The Thief, His Wife and Her Lover). Robert Hardy is a sinister Tory historian, Iain Glenn is a romantic inventor, Jane Asher is Charlotte Rampling's sister, Andrew Ray is a weak but good failed businessman.
The film works well on the political level, highly critical of Mrs Thatcher and her style of government with its elitist condescension. It is also critical of corruption and the condoning of poor and immoral behaviour because the parliamentarians are part of the establishment. However, the film also works as a thriller, the central character murdering the ineffectual businessman and then trying to cover her tracks.
The film is probably the most accessible of David Hare's work - interesting and enjoyable,
1.Impact of the film as political thriller? Political and social observation? Character study?
2.The work of David Hare, his plays, television movies and films? Political background, social comment? Strong portraits of unusual women?
3.The London and Paris settings, contemporary, the cities, France and England - and their mentalities, symbols of meaning? The musical score?
4.The cast and its strengths?
5.The title, the expectations - and their ironically being dashed?
6.Charlotte Rampling's portrait of Clara, her waiting at the opening, brittle, charm, the executive, her work for the European market and community? Her return home, the alcoholic husband and her dragging him along the floor? The absent son, her visits and her ability to smile to her family (as well as business and political associates and constituents)? Her insulting Gerald? The encounter with Michael, his threats, her thinking over his proposition, response to his desperation, her fear? Her rejecting him, his pursuing her at the mansion? Maltreated by the guards? The background of the relationship with Michael, Gerald's failure, the documents, the business and Michael taking over, financial loss? The background of the anonymous phone calls and her fear, assuming them to be Michael?
7.The sketch of Adam, the Tory background, history, writing on the family? Smooth dinner-table talk? Business, sense of menace, in Paris? Offering Clara the job? His wanting her to be subservient to him? The irony of his attitude of men dominating women? Her recognising his voice, her phoning him at the club, using the same words? Her entering into the club and denouncing him publicly?
8.The portrait of her family, the relationship with Gerald, with Pauline, her son, the visits, playing with him, yet ignoring him? Her son's dependence on Pauline? Pauline's criticisms of her sister?
9.Her philosophy of order and control, elitism, responsibilities, consequences of actions? How true was this of her own life? Wallace and his pointing out the other aspect of her life? Her wanting it to come out, yet her dominant control?
10.Clara as a pattern of Mrs Thatcher? Tory politics, business and industry, her research, briskness? Studying documents at home? Relationship with politicians and the business community? Her background, the consequences of her action? Immoral? Her condoning malpractice? Elitist attitudes? Guilt and responsibility?
11.The clashes with Michael, and her going to Paris, the accidental meeting with Wallace, her change of mind, sharing the meal with him, the visit to his family and the Jewish- French community, relaxing? Wanting to walk during the night? The chance encounter with Michael - and her assuming it was his deliberate following of her? Her killing him? The lost bag, walking, revisiting Wallace, her cover story and her ability in acting, the control with which she manipulated events?
12.The news of her son's illness, her reaction, more concern about the bag, staying in Paris, returning to Wallace, the passionate lovemaking and the collage of their relationship? Her listening to him and his insight into the other side of her character? The phone calls to Gerald? Wallace and his realising the truth about her son's illness and his bewilderment?
13.The embassy, getting her money back, the credit cards? Brisk organisation? Meeting Michael's daughter, her composure and pose? Taking the daughter to a meal, the daughter's hysteria and the reaction? Her paying?
14.Her return to England, going to see her son, her devotion at the bedside, with Pauline and Pauline's criticism, seeing Gerald and the perfunctory greeting, the tension between the two? Speaking of divorce? The encounter with Adam, the interview about the new job, denouncing him at the club?
15.The political speech, her candidacy? Stirring the crowds? The Tory content? Meeting Michael's wife, the talk between the two, his wife and her explanation of Michael's weakness and accepting the consequences? The irony of Wallace coming after reading of Michael's death and the finding of the body? The truth? The phone call from Gerald and her assuming it was Adam? Her abuse of him? Plans for the divorce, the continuing of the affair, driving back to London?
16.Gerald, relationship with Clara, the failed business, the documents, a failed politician, alcoholism? Love for his son? Taking the son to Pauline? Getting the gun, Clara's arrival, his denouncing her, telling the truth, seeming to shoot himself, shooting her? His own future?
17.Wallace, the business background, as a character, the chance meeting with Clara and the attraction, the meal, taking her to his family, relaxed? Her return, her using him, in the middle of the night, the early morning? The sexual encounter? His insight into her? Bewilderment about her attitudes towards her son? Discovering the truth about Michael's death? To England, encountering her, the accusation, her seducing him again? Going to London? His future?
18.The sketch of Michael, the good man, his weakness, the mystery and its unfolding, his love for his daughter, the accident of the wrong train? His relationship with his wife - and her accepting the consequences of his actions? His daughter's concern about him? The accident of his death?
19.How effective was the film as a crime thriller, psychological thriller, political thriller? The blend?
