Festival in Cannes

In Cannes, the actress Alice Palmer (Greta Scacchi) wants to have her debut in the cinema industry as director and her two friends have written a screenplay to Gena Rowlands. However they are approached by the counterfeit crasher Kaz Naiman (Zack Norman) that convince them to rewrite the scrip to the famous French actress Millie Marquand (Anouk Aimée) that is in the festival; in return he would sponsor the feature with three million dollars. Millie loves the screenplay and promises to make the film. However, the powerful producer Rick Yorkin (Ron Silver) is producing a blockbuster with Tom Hanks and Simone Duvall and needs Millie Marquand and needs Millie Marquand to perform the role of Tom Hanks' mother. Millie's former husband, the director Viktor Kovner (Maximilian Schell) is in Cannes and Rick manipulates him to convince Millie to accept the part. Meanwhile the promising debutant star Blue (Jenny Gabrielle) becomes a hit in the festival but is divided between her lover and her career.

"Festival in Cannes" is almost a good movie. The idea of shooting in the backstage of the Cannes Film Festival 1999 like in a documentary is creative and interesting. However, the naiveness of the characters like Blue, Alice Palmer and Millie Marquand associated to the verbose screenplay are bothersome in the end of 100 minutes running time. Further, Maximilian Schell is awful and the ham Zack Norman is totally unconvincing. This movie was released on VHS by Paramount distributor in Brazil. My vote is six.

Title (Brazil): "Um Festival em Cannes" ("A Festival in Cannes")

This is a highly interesting movie and to put it in simple words it is a MOCKUMENTARY. The cast is excellent and it is a satire on what reading too much into a movie can do to the general viewing of the movie. It makes a pretend documentary into a kind of black comedy of what Critics and their in depth reading "into" movies of so much; that the absurdities of the movie industry comes to light. Especially when it comes to movie awards. Watch it like a documentary but think of it as a comedy.

I saw Festival in Cannes this evening in my film class and thoroughly enjoyed it. It was far from a documentary (as was posted earlier), but rather an interesting insight into some of the things that can go on at this, or any other festival. The characters were fun to watch and to follow through their few days in Cannes. I found the film interesting and the end was extremely satisfying -- it all made sense. It was beautifully shot and made me wish I could see Cannes in person. Of course it showed how people can be wooed with simple words, but it showed so much more than that. The cast was superb. If you enjoy movies, see this one. It was a treat.

Henry Jaglom, who knows his way around movie deal-making from the inside, made a vicious thrust at the film industry, located at Cannes with an all-star cast and a wealth of cameos. Critics who panned this brilliant non-lampoon missed the point. If movie nuts (like myself) ever entertained fantasies of making a big time film, Henry Jaglom's satire will cure them.

As a long-time fan of Henry Jaglom, I'd have to put Festival in Cannes slightly behind his last couple of films, the wonderful "Deja Vu" and "Last Summer in the Hamptons." His work is definitely not to everyone's taste -- none of his characters is free of either self-absorption or self-destructiveness -- but those who don't need clear heroes and villains are well-rewarded with psychologically complex and often highly comic portrayals.

This is more in the spirit of "Venice/Venice" and his earlier, more confessional films with the difference being that Henry's not onscreen. Still, his longtime collaborator Zack Norman gives his best performance ever, Anouk Aimee and Maximilian Schell fully embody both the mystery and deluded romanticism they're meant to evoke and a fine array of new faces (especially Alex Craig Mann and the two female writer/producers) step up to Jaglom's "process" and execute it more seamlessly than ever before. Henry's somewhat distracting habit of arhythmic cross-cutting within dialogue scenes has been almost completely cured -- "Festival" has gorgeous long takes that allow the scenes to completely develop their internal tensions. The production values are also the best ever for one of his films; he and his crew really conveyed the spirit of a festival that is really a market.

My main quibble is that his ending is not as satisfying as those of his last films; it, too, harks back to the looser wrap-ups of his earlier work -- even a bit more certainty about the resolution of a couple of the storylines would have helped this feel a little grander in conception.