A film review: "Jours tranquilles à Clichy" [1990 France, Italy, Germany]

Too often in the history of cinema have we seen a legendary director bring an inspired piece of literature to film and completely miss, not only its central theme, but also the pulse. The culprit on this occasion of 'artistic license' is none other than Claude Chabrol himself, and the work that suffered the misfortune was Henry Miller's autobiographical "Quiet Days in Clichy".







Granted, Chabrol's "Jours tranquilles à Clichy" didn't set out to merely replicate the novella for screen, it was also meant to be a vehicle for some of his own material. It wasn't the case that the original and Chabrol's own ideas couldn't sit well together - he could have done justice to both, but it fails due to a number of reasons.

The 'quiet days' that Miller recalls is mainly about the poverty he and his flatmate Carl endured as struggling writers amidst the decadence of nineteen thirties' Paris. But what we're presented instead is a stream of ostentatious indulgence. Frequently finding themselves among the burlesque opulence of a high-class bordello, Carl and Joe (Miller) hardly remind us of guys who might any time be kicked out by their landlord.

Chabrol, while sticking to the period against which the novel was set, refuses to include the protagonist's 'survival-mode' economic backdrop, due to which the novel is taken out of context. Miller was well into his forties during the period against which the novel is set, but here he's represented as a wide-eyed youth in the form of Andrew McCarthy. And Nigel Havers would never make a Carl even if the sun were to rise from the west, impeccable accent notwithstanding. At least, they got the fifteen year old Colette (Stéphanie Cotta) right in the casting department. But Chabrol would've rather given the film a different title altogether, if only to allow us to talk about his film instead of the dubious nature of his adaptation.

But let me add a few words about the film, if only to do justice to one of Chabrol's most uncharacteristic films in his long and illustrious filmography. The additional material he brings to this film is more of a tribute to Luchino Visconti (Death in Venice) and possibly Bob Fosse (All That Jazz). Miller, during what's presumably his final hours, pines for the perfect beauty of an adolescent girl (played by a just-about adult Giuditta Del Vecchio). Her illusionary presence is there only to preside over his death, alongside the vultures and free loaders waiting outside. I don't remember coming across symbolisms of this kind in any of Chabrol's films - this is more of Jean-Claude Brisseau's territory.

As for the film's technical merits, there's something really awkward about the set design - there's too much of an attempt at aping a Visconti, and very little recreating Paris and Clichy of thirties. But I have to admit that I adored the twin bath featured in the bordello, an original antique perhaps. As with most mainland European films with original English dialogues, there is a distinct cultural disconnect with its intended anglophone audience, that unintentionally lend a surreal air to proceedings. For the type of film, its editing is decidedly choppy, and I'm pretty sure that my DVD is the integral version (116 mts, PAL runtime) rather than some butchered 90's print.

All said and done, while it might be futile to compare different cinematic adaptations of literary works, one is nevertheless tempted to draw comparisons between the two existing adaptations of Miller's Quiet Days in Clichy, and if I were to choose one, it will have to be the rather incomplete, poorly constructed, but beautifully crafted, and ultimately more accurately rendered Danish version.

Amazon.fr DVD Link [PAL] | Amazon.fr Blu-ray Link

 

The Nudity: Eva Grimaldi, Barbara De Rossi, Stéphanie Cotta, Anna Galiena, Margit Evelyn Newton, Maria Cristina Mastrangeli, Federica Farnese, Mónica Zanchi, Giuditta Del Vecchio, and others
As you might have guessed - with the long list of names, the film features plenty of nudity. You might also notice that many names are Italian. They speak in English, and for someone who has a particular fondness for ladies speaking English with an Italian accent, it ticks several of my boxes. Apart from the nubile Giuditta Del Vecchio, the highlight will have to be the crazy Anna Galiena scene which, while not nearly as explicit as the Louise White rendering of the same character, is among the few successful attempts at comedy by Chabrol. There's hardly any male nudity - Nigel Havers is shirtless in one scene, and there's a brief side-on view of McCarthy during a sex scene. That's Chabrol for you..!



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Penélope Cruz & co in "Jamón Jamón" [1992 Spain]

It is the 100th Spanish language film to be reviewed in the blog - about time I introduced one major actress named Penélope Cruz here...

It's a special film too, for many reasons. Perhaps Bigas Luna's most widely known film outside Spain, "Jamón Jamón" [Eng. Title: Jamon Jamon] was also the cinema debut for Penélope Cruz, one which also saw her nominated for a Goya, and one which also introduced her to future husband Javier Bardem. Of course she'd go on to win many more awards including Oscar, but this is where it all began for an eighteen year old starlet.

And what a film too - completely twisted in Luna's inimitable style! Right from the first shot of the film - panning from behind a huge cut-out of a Spanish bull to reveal its cracked balls, this is a film teeming with machismo and testosterone, only to be mocked at the same time. He transgresses ingrained traditional values and customs by questioning their purpose, be it the courting ritual, their sense of honour, pride, and vengeance. The point the film tries to make is that we humans think we know what we want, but then again, we might not know for sure. This is told through a bizarre merry-go-around of coupling and sexual antics.

Storyline:
Silvia works at an underwear factory and is in love with José Luis, the owner's son, and he loves her back, also wanting to marry her. But this is vehemently opposed by his mum Concha, because Silvia's mother Carmen is a prostitute. Carmen and José Luis' father have a history too - they were once in love long ago - she turned to prostitution after they went their separate ways and her husband abandoned her and the child. Add to this, José Luis also visits Carmen to use her services from time to time. Concha plots to break the young couple apart, and hires Raúl, local hunk and ham delivery boy who also models for her male underwear. She instructs him to seduce Silvia. The plan works, initially, but when Concha starts having an affair with Raúl and wants him to end his relationship with Silvia, things become murky as they're both already in love. To complicate things further, Silvia is already pregnant through José Luis, whose father also wants to climb onto the merry-go-around now..!

One of Luna's trademarks is the manner in which he peruses food and sex to draw parallels with our desires - it is the humble ham this time, and is used in different ways, from an aphrodisiac to a weapon (strange scene that, where two men clobber each other with legs of ham to win the right to be with Silvia). Animals are used as a metaphor too - the obvious bull apart, you have a foul-mouthed parrot, a highly 'distressed' pig, and a persistent 'fly'! But as is with many of his films, the characterisation is incomplete, and it remains my main complaint with this director. But this is a remarkable and memorable film nevertheless, for both the strange scenes and dialogue. Another pleasant fact is the inclusion of Italian actresses Stefania Sandrelli and Anna Galiena among the main cast, both of whom have had the distinction of every nook and cranny of their respective bodies 'examined' in a Tinto Brass film. They're much more modest here, but nevertheless a welcome addition to the cast and therefore, Highly Recommended Viewing..!

I'm not terribly pleased with the quality of my bare-bones DVD as it hasn't been letter-boxed properly - forcing me to leave black borders in some scenes in the compilation. But at least it's not particularly expensive in Amazon for the moment.

Amazon DVD Link




Compilation: Penélope Cruz, Anna Galiena, and Stefania Sandrelli



Scene Guide:

• José Luis opines Silvia's breasts are just as delicious as her omelettes. He should know. Silvia is played by a young, enchanting, 'guapa' Penélope Cruz.
• No nudity - Silvia complaining to her mum Carmen that José Luis hasn't yet told his parents that he wants to marry her. Carmen is played by a favourite among French art-house directors, the very dishy Anna Galiena.
• Brief nudity, twisted scene - definitely worth checking. José Luis begs Carmen, his soon-to-be mother-in-law for sex one last time. She obliges. "Wacaaa..!" :D
• Silvia having a bizarre dream, with stray dogs, bulls, and you guessed, ham..!
• Concha with the hired local stud Raúl. She likes his package so much that she now wants him all for herself. Luna makes it a point to show Raúl struggling to get going at first. Concha is played by legendary Italian actress Stefania Sandrelli.
• But Silvia had already fallen in love with Raúl, and makes known her displeasure when José Luis tries to have sex with her under the bull. He leaves Silvia in the rain.
• Continued from above - Silvia walks dripping wet into the bar where Raúl is counting his good fortune with the fruit machine - and with Silvia, now the jackpot too. They're totally unmindful of other people at the bar.
• It's now Raúl's turn to judge Silvia's breasts - apparently they taste of both omelette and ham - he tucks in as if he was starving for days. Watched by the José Luis and mum Concha, each frustrated for different reasons.
• Concha manages to wrest Raúl back after promising him a Mercedes. José Luis barges into Raúl's warehouse to find his mother in bed with his enemy. If you watch carefully in a few frames only, Bardem must have been 'quite close' to Sandrelli at some point during the shoot. You'll know what I mean when you get to 13:25 mts. :)

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