LE PROMENEUR DU CHAMPS DE MARS (THE LAST MITTERAND)

France, 2005, 117 minutes, Colour.
Michelle Bouquet, Jalil Lespert.
Directed by Robert Guediguan.

The Last Mitterand (Le Promeneur du Champs du Mars) is based on the book by Francois Mitterand’s sometimes unwilling and harassed biographer, Georges- Marc Benamou, who also wrote the screenplay, as they worked together during the last year of the French President’s life. As with Sophie Scholl, this is a film of words rather than action – a kind of verbal Citizen Kane with the subject moodily participating in his own research.

Direction is by Robert Guediguian whose films usually focus on passionate slices of life in his native Marseilles. This is quite a different project for him, an examination of an important public figure who saw himself as exceedingly significant but who was evasive in answering questions about his role in the latter years of the war.

Michel Bouquet, who has been giving excellent performances for more than forty years, brings the sometimes arrogant and waspish Mitterand to life. However, Jalil Lespert as the researcher is a rather abrasive screen personality, so there is little warmth even when Mitterand is co-operating. This will be of great interest for French audiences but those with little knowledge of Mitterand will have to make an effort to be engaged.

1. Audience knowledge of Francois Mitterand? The impact for a French audience? Non-French?

2. A recapitulation of France and politics in the 1990s, the life of the president, his lifestyle, his identification with France, his government? The magazine, the article and the research, the interviews in the city, in the country?

3. The investigation technique, the parallels with Citizen Kane and the exploration of a life?

4. The emphasis on the interviews, the verbal presentation of character, questions and answers? Revelation of character – concealment? Mitterand’s reaction to the interviews, moods?

5. Mitterand and his reputation, president for fourteen years, the 80s and the 90s? His character, arrogance, his relationship with De Gaulle, the background of his presence in Vichy during the war? The doubts about his reputation in Vichy, collaboration or not? His becoming a minister at a young age, the length of his career, identification with France? His personal life, the revelation that he had a daughter, the impact on the world, the different perception of the French and their tolerance?

6. Mitterand and his reliance on his doctor, his reactions? His relationship with the driver? The need for security? His growing older, the range of his friends – or merely associates? The sequence on the beach? The final sequence?

7. Mitterand’s vision of himself, his role for posterity, the nature of his memoirs, dictating them, editing them? Twenty-three days without connection with Antoine, his exercising of power, yet his friendship for Antoine? The issue of his tomb? The background of wine and vinegar?

8. The blending of Mitterand’s and Antoine’s story in the screenplay?

9. Antoine in himself, age thirty, his work for the magazine, his personal intensity, a 1981 socialist and his explanation of his political background, at work, the job? Going to meetings with Mitterand, the bonding between the two? Depending on Mitterand’s moods? Antoine’s own moodiness? Taping of interviews? The range of reactions, the days with Mitterand, the contrast with the office? Going to Vichy, meeting the old ladies? The impact of the Vichy visit, his research, the library, wanting to give up? The summons, the walk on the beach? Antoine’s discussions with the driver, with the doctor? The finale?

10. Antoine’s wife, the tension, the baby, the hospital sequences? Being apart? His having to sell his apartment, the tour with the tenants, their comments and his anger with them? The encounter with Judith, her help in the research, the discussions, the phone calls, the relationship, finally coming to Paris?

11. The film as biography, study, search for a character, the record of a great man, an enigma?