Le passeggiate al Campo di Marte

I saw this movie yesterday, with somebody who have neither live in this country during Mitterand's presidency, nor had an interest with our narrow views on our own politics. And I was surprised,thinking I would show her part of the history of one of the most important guy in our recent history (the French one), to see that, actually, it's not about this president at all. Of course, there's some names mentioned, some events, but the main character is called "Mr President" and nothing else, and the movie focuses on "off times" of the president, moments of privacy shared with a journalist who is supposed to write a book about him. This is the story of an old man who, facing his death, tries to find peace and struggle to do what he have to face. The last two month of his presidency, when, literally eaten by his disease, he slowly becomes an impotent. The wish of being in the memory of his country ("Tell them than I'm not the Evil", he says to Antoine, the young idealistic journalist). His childish behavior (when he forces his bodyguards to stays on the beach and talk about poetry while the rain starts to fall, or when he confesses that he'd like to drive a Renault down the fifth avenue with Julia Roberts on his side...). And, most of all, his fight against his own past. About this, the best moment in this movie is when he says that some Jewish group wants "France to bow and begs for pardon like Willy Brandt. But that was not France !" After all, this is a story of a man who has such a past, such a (hi)story, that he becomes his own country, with all its contradictions, dark sides, denial, but also hopes, and definitely a sharp sense of humor... Although we could say that it's about time that this country turns the page and faces its history (what Mitterand never did), we can't say, here in France, that he will be forgotten. Never a president has be his country such as he did.

Francois Mitterrand was a fascinating political figure. The journalist Antoine Moreau, constantly interviewing the ailing President during the last months of his premiership and life, finds him fascinating and charismatic. The film is fascinated by him - Michel Bouquet's Mitterrand dominates all scenes he is in, controlling the conversation, the centre of attention, revelling in his role as the last great president (his argument is that in the age of globalization greatness will no longer be possible for French presidents - and, looking at his followers, he seems to have a point). The fascination of Mitterrand is that he is full of contradictions: the Left wing president who lives in palatial grandeur; the Left winger (we see him addressing workers, speaking of victories achieved through solidarity; and we see his final New Year's address as he argues that material wealth and growth is not important in itself, but as a means for a more equitable and fairer society - what leader would argue such utopian stuff now, just 20 years on?) who has moved to the Right, but French society has moved quicker than he has so he still seems of the Left; the canny political manoeuvrer who is cultured, loves literature, ideas and life. As well as being a significant political figure, Mitterrand was interesting as a person in a way that Bush or Blair or Sarkozy or Berlusconi are not. Yet, in a way, the film just presumes our interest. If you are not interested in Mitterrand, or have not really heard of him, then I am unsure that the film will gain your attention. I don't think there are any great insights of character or history here, no detailed study of a political operator - we are just asked to wonder at and about the President. Perhaps characteristically, there is a lot of questioning about Mitterrand's role during the War, his role in the collaborationist Vichy government, yet, in the end, no conclusion is reached. The narrative centre of the film is Moreau and he is given a life outside of his fascination with Mitterrand: his relationship with his partner breaks down, he meets another woman - but this is all a bit flat, it only gains significance when it connects with Moreau's relationship with the President. I liked this film, I found it interesting, but I think that was because I find its subject interesting - if you don't share my interest then I am unconvinced that the film will hold your attention. In a way the film is part of a Mitterrand cult rather than an exploration of it.

The Last Mitterand sure score points for originality, let me tell you. Eseentially, this story details Mitterand's visit to his potential biographer during the last few months of his tumultuous decade as the French President, and in declining health. The President talks about his years in power and his politics, but sidesteps any questions about his shady past, particularly in World War II. The author tries to go through other sources to get this information, only to realize that he's being watched..

If I've confused you, I'm sorry, as this, amazingly enough, is a fictional piece! Although it's totally implied that Michel Bouquet is playing Mitterand, the character is only addressed as 'Mr President'. This movie is actually based on a book that was written about Mitterand, and the movie, pay attention now, is based on the author's research on the book and communications with Mitterand. I don't think I've ever seen a movie biography done this way before. (Well, OK, Interview With The Vampire, but that was uhhh total fiction). I have to tip my hat to the filmmakers for this idea! Hats off too to Bouqet, who is simply stunning as Mitt-er I mean "The President". He had that role NAILED down. I don't know what Mitterand's nuances were, but Bouqet was amazingly believable. Finally, although I hardly know a thing about French politics (and it appears that other people in the audience got some of the jokes I didn't), you can just enjoy this movie for what it is, a magnificent portrait of a interesting, yet somewhat guarded individual.

No doubts about it, Michel Bouquet as the late French President, Francois Mitterand, had an excellent performance. It reminds me Bruno Ganz's interpretation of A. Hitler in "Der Untergang" (The Downfall). But, what would have been the movie without him? That is what has disturbed me from the beginning. Antoine Moreau was, to my eyes, everything else but convincing in his role. this could be interpreted as a weakness of the film, as everything looks to have been focused on one and only one character, the old dying Mitterand who is preparing his farewell as president. A little bit of french/European history knowledge might be helpful, but nevertheless, this film is to recommend.

This is not your usual biopic. It is more of a rumination on those big abstract topics the French love so much: what is a legacy? Where is French glory to be found? Does France even have any resonance or sense any more in the face of globalisation/EU? The meanings of Frenchness are clearly articulated here by Guediguian's camera which lovingly records fields of hay, Chartres cathedral, and the lined faces of the 'travailleurs': it is here that the documentary impulse of the film lies, rather than in its tracing of Mitterrand's past, and here that we can see the links to Guediguian's more usual style and themes of filming with their socio-political investment in "ordinary" people. What seems to fascinate the film is less the issue of whether Mitterrand joined the Resistance in 42 or 43 (we never learn the "true" answer) but what happens to a man when he is in power. Mitterrand is closed in by grey doors in the beautiful Elysee palace which becomes a living prison of coldness (interesting the moment where he praises the colour grey). We never get a sense of the man having a family, even though he talks lovingly of a daughter: we see him constantly surrounded by men in black, with him out of a sense of professional duty rather than because they care for him. Power cuts you off from those you are meant to serve...Mitterrand's closest relationship is to the petrified former rulers of France. A chilling portrait of what happens when a man turns himself into an icon. And a movingly brilliant performance from Bouquet, who perfectly captures the horror of the body that slowly falls apart...The film ends on a note of hope for the future, with the birth of a child and the forming of a new relationship: but it is noticeable that it is in the private sphere that Guediguian places hope for the future: the hope of a committed leftist project has perhaps died along with Mitterrand.