Cloclo

I came here to write a clever review of a paradoxical film, but 'doctorrugger' pretty much summed up all you need to know about the film. It is 'two films' ultimately.

Director Florent-Emilio Siri (of the wonderful "L'ennemi intime") has the chops to make a vacuous script worthy of a made-for TV biopic engrossing from almost the first frame of the film. A stellar performance by Jérémie Renier doesn't hurt either. You really don't like this guy, and that's the point. I wouldn't necessarily call him a 'no- talent ass-clown, but, he certainly had the heart of one.

I recommend watching online video of Claude François BEFORE watching the film. Jérémie Renier's performance makes the real Cloclo seem absolutely wooden.

Just saw the film, that came out today in France. For those who are nostalgic, it is probably a good enough reason to like this biopic. For those who are fans of Claude François, there is nothing that should make them sad or angry. All the ingredients are there: poor young lad becomes rich and famous through music, gets the money and the beautiful girls, and dies in a stupid accident, young enough (39) to not have to witness his decay, like with Johnny Hallday. However, for those who are not nostalgic of the seventies and who are no fans of Claude François: don't even consider satisfying your curiosity, because there is nothing to see.

There are two films in CloClo; the first is a very disappointing biopic, flat and monotonous tale about a music freak, which never hesitates to state the obvious, and follows without an hint of originality the pattern of CloClo's life. Its scenario lacks of imagination and pictures a tyrannic Claude François, so full of himself, so ready to do anything to be famous , and killing metaphorically anyone who's got more success than him: such a detestable character.

The second film takes place very gradually in your mind while you're still angry at what you're watching; but, as you feel deep inside that this biopic is nothing but a major failure, you cannot avoid admiring Jérémie Rénier's flawless acting and impersonation , and later you get enthused by Siri's own virtuosity with the camera (the party in the Moulin), and gradually you begin to understand that you enjoy yourself, that you don't want it to stop, never, and that you're anticipating with growing horror the approaching and unavoidable scene of the fatal shower, which leaves you, the audience, and dozens of groupies (some sleeping in his hallway) in tears... And you remember now why you always liked CloClo, why his death in the late seventies represented the end of your own childhood; such an exceptional person...

Jeremie Rénier's performance is a true tour De force ;his portrayal of the late singer is nothing short of exceptional and compares favorably with that of Marion Cotillard as Edith Piaf.

The problem is that,unlike Piaf ,François can't be seriously considered an artist with a genuine creativity to offer:80% of his songbook are covers :the Everly Bros,the early Beatles,the Angels,John Hartford,Barry McGuire (and Ryan) ,Jackie De Shannon,Tom Paxton,Pete Seger,the four Tops,the Temptations,the Bee Gees ,the Hollies,the Four Seasons ,Georgie Fame,Sonny Curtis and even English traditional ballads such as "Geordie",the list is endless :that's why the movie insists on "Comme D'Habitude" ,the singer's only international claim to fame :translated into English by Paul Anka as "my way",it was covered by Sinatra,Elvis and countless others ;to be honest,one should add that another Clo-Clo song "Parce Que Je T'Aime Mon Infant"was also covered by Elvis.There were more originals in the seventies ,although" Dix-Sept Ans" ,which is heard at the beginning ,is Janis Ian's 1975 smash hit "at seventeen" which remained unknown over here .

In the movie ,the singer appears as a selfish ,moody ,unsympathetic,jealous (don't they give the best American songs to Johnny?) character;his relationship with the other singers of the era is passed over in silence (just one hint at Hallyday and "Salut Les Copains " the magazine which was the ye-ye boys and girls bible ;only France GAll appears ,and only because she had a love affair with him circa 1965:the Eurovision Contest phone call is reportedly accurate ,but Gall said that she could not see any likeness between her and the "shrew " of the "Comme D'Habitude" song ,supposedly depicting their breakup .

If you were a boy in a sixties ,Clo-Clo is certainly a nice memory (the original American and English songs were mostly unknown here and in his way , Clo-Clo introduced us to them and I was a fan then );but as a adult,you might find this MOR music futile and forgettable .

But,I say it again:"hats off to Mr Rénier"

I basically knew nothing about French pop superstar Claude François before seeing this film, apart what he looked like, a couple of his songs and how he died.

A talented filmmaker, Florent-Emilio Siri has surrounded himself with a stellar cast and captures dazzling visuals to deliver what ends up being a rather classic, well-made musical biopic that (re)introduces the singing sensation to the 21st century.

On the down side, the film sometimes plays like a highlight reel of sorts, seemingly jumping from one flagship scene to the next without taking the time to explain the significance of events unfolding to the unfamiliar viewer, while at the same time jumping over portions of François' life that look like they might have quite some importance.

However on the positive, apart from the aforementioned excellence of the actors and the incredible shots scattered throughout the picture, Cloclo also gives an insight into an aspect of the musical industry that is rarely seen on film, which is the "industrial" production of songs, creation as seen through a committee rather than a single artist. Quite fascinating.