filmbore pick of the week - A Very Long Engagement

A Very Long Engagement

Director: Jean-Pierre Jeunet
Screenplay: Jean-Piere Jeunet, Guillaume Laurant
Starring: Audrey Tautou, Gaspard Ulliel, Dominique Pinion, Chantal Neuwirth, Marion Cotillard
Year: 2004
Language: French
UK rental release: June 2005

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I've been holding back on this one ever since I started filmbore. I wasn't ever really sure when to start talking about it. And, at times where there would have been some real relevance, other films have been discussed. Therefore, it's about time I talked to you all about a picture that, in my opinion, is the best piece of work by one of the world's finest directors, Jean-Pierre Jeunet. Let's take a look at A Very Long Engagement.

The Battle Of The Somme: World War I. Five soldiers, from near the front lines at Somme, face the death penalty. Each have been committed to die due to their own perilous acts, brought about by their need to escape from the war. All of them have taken it upon themselves to self mutilate, hoping that their injuries will grant them passage home, away from the madness. 

Instead, they are all court-martialed for treason. One of these men is Manech (Gaspard Ulliel, Hannibal Rising, Paris Je t'Aime), who is just shy of 20 years old when he got caught getting his hand shot at one night in the trenches. Along with the other four convicted soldiers, Manech is sent out to no man's land, where he will either be shot, blown up or just die from starvation and cold. Little is known of whether they survived or not.

His childhood friend and teenage love, Mathilde (Audrey Tautou, Amelie, The Da Vinci Code, Priceless) believes he is still alive. She feels connected to Manech by an invisible cord, while stories of his potential death feel like fables in the wind. She meets a sick sergeant who met the five condemned soldiers through escorting them to the front line to receive their punishment. He sympathetically explains what he assumes happened to them. When his tale is over, he hands Mathilde a box containing personal belongings of the men; a treasure trove of clues that could lead Mathilde to her fiancé.

With all these new leads, she will do whatever it takes to find out the truth. Getting around is difficult for her, however, as she suffered from Polio at a younger age. Her legs don't work as well as they used to and she's bound to a wheelchair of a hindering limp wherever she goes.

Since her parents death she has been taken in by her uncle Sylvain (Dominique Pinon, Delicatessen, The City Of Lost Children) and aunt Bénédicte (Chantal Neuwirth, Cortex, Madeline). Bringing her up through her illness as a child, they have given her a beautiful life in the French countryside, where she met her sweetheart. They feel that her romantic drive to locate Manech is a wasted attempt, and that she should accept the inevitable. Her resolve stands strong, however, so she heads off to Paris to begin her quest.

Little does she know that the journey that he is about to take will introduce her to unknown worlds of assassins, government conspiracies, some curious individuals and a cryptic albatross.

I admit, I haven't read Sébastien's Japrisot's book that this film is based on. All I will say, whether this is a faithful adaptation or not, this is an incredible story, full of love, hate, deceit, mystery and plethora of truths that are gently revealed when the plot decides to unveil itself. Each sub-story that feeds into the overall thread is a movie in itself. Instead, in their compact and concentrated form they imbue their own personal flavour, turning an aromatic main course into an array of sense-enthralling dishes.

Many of these essences are delivered through the numerous eccentric individuals we meet along the way. There are some beautifully crafted characters here. Mathilde in particular is very absorbing. A combination of both innocence and maturity, here passion in the mystery is softened by her superstitious nature. Each person she encounters through her investigation brings their own level of oddity to the table, thanks to incredible execution from a sizeable and gifted cast.

At the centre of such splendid performances is the delightful Audrey Tautou. Many of you will know her ground breaking role as Amélie Poulain in Jeunet's most iconic film to date. Here, she still carries a sweetness reminiscent of her more famous counterpart, except this time she infuses it with a relentless drive and spiritual backbone. She spends the entire picture either sat in a wheelchair or hopping around. If mobile, her gait adds to the allure of Mathilde, then she has her static moments where she gets to shine in her acting brilliance. 

There are many other great performances to enjoy too, all adding their little spell of excellence to the overall tale. Look out for a surprising cameo from Jodie Foster, who's brief spell is the spine to her character's chapter. Dominique Pinon as well, who, for any of you who have followed filmbore up until know, you will know is one of my most fondest of actors. Here, his role is more subtle, as a supporting parent figure to Mathilde. He is kind and calmly comical, which is refreshing for an actor who is usually required to walk on the more obscure side of the performer's backyard.

We cannot talk about this film and not mention Marion Cotillard, who is still, in my mind, one of the finest actresses in the world. She electrifies in this small, unusual part. Her role, like many others, is just another piece to the puzzle, yet she still manages to consume you, no matter how minuscule her screen time is, hence why she rightfully won the César Award for Best Supporting Actress in 2005.

Her character has become synonymous with this film. Her few executions have become well known in world cinema as some of Jeunet's key moments. It's fair to say, there are some gory elements here that will take you by surprise. They aren't offensive, however, but glamorised artistically in order to assimilate themselves to the picture's overall feel.

They fit perfect into the movie's template. There such stunning camera work to behold here accompanied by a palette perfectly designed for the whole piece thanks to the breathtaking talent of Bruno Delbonnel, who worked with Jeunet on Amelie. Amidst the deep browns and greys of the trenches and battlefield, we're treated with yellow hues of the vibrant French countryside when receiving the tomes of the main couple's blossoming relationship and seeing Mathilde in her home setting. Then, when she begins her investigations, we're enriched with deep reds, browns and greens as she steps into other environments.

Some trademark Jeunet-isms are on show too. Quick-fire, humorous musings when introducing characters, like the early scenes which encompass the upbringing and peculiarities of Mathilde, which are absolutely delicious. Big set pieces are on offer too, especially through the war scenes. A real key moment that showcases this fact though is the hospital bombing, which is a powerful and consuming piece.

Also, we cannot forget Jeunet's obsession with contraptions. Always treading the fine line between cyber-punk and clockwork, A Very Long Engagement isn't as wildly coated as his other outputs but still we get the odd gift in objects of wonderment and construction. Such as, the glorious carpentry work on the handless barman, or the delicate precision in the design of Marion Cotillard's assassin whore's spectacled weapon.

There are other spells that feel unique to this piece that are delectable. In particular, if only a matter of seconds, on the young couple's first night together, there is touching and romantic moment where Mathilde blows out each match that is struck by Manech, wearing slightly less each time a new flame is produced. It flashes by, near unnoticed, but it is magical in its production and timing. There are many morsels like this throughout all of A Very Long Engagement, all serving to enhance your experience as you follow Mathilde on her eye-opening adventure.

And this is the true beauty of this film. You are reminded of these sweet moments of love, then introduced to the horrors of war, only to be taken through a mystery of intertwining tales, while at the same time made to laugh, cry and stay gripped to turn over the next secret. It's perfectly paced, astonishingly shot, perfectly performed and altogether...well, just awesome! Thanks Jeunet. You rock!

Adapted from the 1991 novel by Sébastien Japrisot of the same name, A Very Long Engagement is a lesson in how to portray a remarkable tale with no barriers on genre or techniques, allowing creativity, drama, intrigue and performance to induce all manner of emotive responses. It's a real genre cocktail, belonging in so many categories: Romance, Drama, War, Mystery, Thriller, Comedy, and more. If this sounds a little hard to swallow, don't worry. Thanks to Jeunet being at the helm, they all blend together seamlessly into one overall piece that just seems to work. It's this bravery and talent in merging themes that makes this Jeunet's finest piece of work.

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