Godard was the bad boy of the French New Wave.Whereas his contemporaries such as Francois Truffaut were “safe” and
“accessible,” Godard liked to shock people.A lot of his work, especially in the sixties, was also political in
nature—this was a man unafraid to scathingly portray French bourgeois society
at its worst and trumpet his views on class discrepancy with the ferocity of a
bull dog.In other words, he enjoyed
pissing off audiences.
in 1967 with the opening titles caveat that “children under 18 should not see
this film,” we are told at the beginning that Weekend (or Week End or Week-end, depending on what country
you’re in) is a film “found on the trash heap.”It is one of the darkest and most vicious black comedies ever made, and
naturally, it is one of Godard’s best pictures.It is simultaneously fascinating, repulsive, and hilarious, and not for
the faint of heart.But discerning fans
of art house cinema should eat it up.
story, as it were, involves a bickering married couple (Mireille Darc and Jean
Yanne, both of whom were major French TV stars at the time the film was made)
who have plans to kill each other and run off with their respective
lovers.But before that can happen, they
have to murder Darc’s father so she will inherit his wealth.They set off across country to her parents’
home and find themselves on a nightmare journey through a landscape of traffic
jams, automobile accidents (and fatalities) at nearly every juncture, and
violence.The humor comes with the
couple acting as if it’s all part of everyday life.
celebrated sequence is a lengthy tracking shot along a road backed up with
vehicles.As our anti-heroes attempt to
pass the idling cars and trucks to move to the head of the line, we’re treated
with all kinds of sight gags (such as one car that’s facing the opposite
direction and wedged between two vehicles going the right way).We laugh and laugh.Then, when we finally reach the front of the
traffic jam, we see that the cause was a bad accident, and entire families are
lying bloody in the road.The couple
drives through the scene as if the holdup was a minor nuisance.Later, when the couple’s car is also in a
collision and catches fire, Darc is more upset about her Hermes handbag getting
burned than the fact that she and her husband are covered in blood and the car
is destroyed.That’s the kind of movie Weekend is.
new digital restoration with uncompressed monaural soundtrack is superb.The cinematography by Raoul Coutard always
had a color documentary feel to it, but the Blu-ray brings out a sharpness
hitherto unseen in prints.Extras
include archival interviews with the stars and assistant director, an archival
piece on Godard featuring on-set footage, and more.The thick booklet contains an essay by
critic/novelist Gary Indiana, selections from a 1969 interview with Godard, and
excerpts from a Godard biography.
Weekend was a comment on
French society in 1967, and the irony today is that the film might be even more
relevant in our own present world.
Ernest Borgnine's final film, The Man Who Shook the Hand of Vincente Fernandez, opens theatrically with a one-week run at the Laemmle Encino Town Center Theater beginning today. The independent production is a modestly-budgeted family comedy/drama that presents the legendary Oscar-winner with the kind of showcase role that actors in their nineties almost never have. Borgnine makes the most of it, too, giving a terrific and moving performance that earned him the Best Actor award at this year's Newport Film Festival. Written and produced by Elia Petridis, Fernandez centers on Rex Page (Borgnine), a cantankerous old coot given to griping about every aspect of life. He seems oblivious to the fact that he has an adoring wife (June Squibb), a devoted middle-aged daughter (Dale Dickey) and and a worshipful granddaughter (Audrey P. Scott). Rex is frustrated by his failure to fulfill his dream of becoming a big time actor on the silver screen. He once came close to landing the leading role in a spaghetti Western, but lost out to a competing actor. He's spent a lifetime in self-imposed hell, obsessed with watching this B movie and learning every line of dialogue, which he repeats to anyone in his presence. When a health crisis sees the fiercely independent Rex move into a nursing home, a series of incidents motivate him to reevaluate his life. The nursing home is a money mill for corrupt bureaucrats who use the patients as cash cows. It doesn't take Rex long to figure this out and he quickly wears out his welcome by insulting and chastising fellow elderly patients who are part of a click belonging to the corrupt family that owns the facility. He also is abrasive towards the largely Hispanic staff of nurses and orderlies, often referring to them in unflattering racial insults.
The relationship between Rex and his caregivers gradually softens, however, when the young staff members learn that Rex, a former popular DJ, once briefly met and shook the hand of the film's titular character, Vincente Fernandez, a "Mexican Frank Sinatra" who enjoys mythic stature in the Hispanic community. Rex transfixes the staff by telling and retelling his account of this brief meeting in the 1970s. This common bond allows Rex and the staffers to form a mutually respectful relationship that grows stronger by the day. Rex particularly takes a shine to his nurse Solena (stunningly beautiful Carla Ortiz)- and he comes to her defense, saving her from the clutches of would-be molester Dr. Dominguez (Tony Plana), the chief administrator. In a scenario that is a clearly geriatric version of One Flew Over the Cuckoos Nest, Rex inspires his young friends to stand up for their rights and take on the oppressive bureaucrats who exploit them. He must also deal with challenges in his own life when his family feels he's been alienating them in favor of his adopted family at the nursing home.
The film contains more than its share of sugary scenes and corny cliches. (The villains are so lacking in any redeeming qualities that they practically twirl their mustaches.) Nevertheless, director Petridis offers Borgnine the finest role he's had in more years than I can remember. He dominates every scene and, ironically for his final film, looks like the picture of good health. Petridis, who must clearly be obsessive about spaghetti westerns himself, cleverly manages to intertwine many aspects of Western movie lore into this contemporary story so that even a card game between Borgnine and a nursing home nemesis is drenched in Leone-like imagery and music. This homage extends to the brilliant title credits which are cleverly derived from the Sergio Leone/Clint Eastwood "Dollars" trilogy. This is a feel good family film that is marred by one easily correctable misjudgment: the insertion of a completely unnecessary expletive said from a mother to her young child. It's wildly out of place in an otherwise uplifting tale for all ages. If director Petridis is wise, he'll exclude this from the video and pay-per-view versions of the film.
I only had the pleasure of meeting Ernest Borgnine once several years ago for an interview for Cinema Retro magazine. He struck me as a warm, honest and kind individual. Thus, perhaps I had a bit more of a personal outlook when viewing Borgnine's final sequence in this film, which Elia Petridis handles brilliantly. It's so touchingly filmed and directed that I was moved to watch it again on the DVD screener. Not since John Wayne's final scene in The Shootist has a legendary actor had a more appropriate on-screen send off.
The Man Who Shook the Hand of Vicente Fernandez is not high art, nor does it pretend to be. However, it is an enjoyable film that refreshingly extolls family values. The supporting cast members are all very talented and a pleasure to watch, but is Ernie Borgnine who justifiably dominates the movie and your memories of it.