Every month, the artist (actor, author, singer, etc.) shares with L’Éclaireur about ten works, which for various reasons particularly touched him at different periods of his life. This month, director Michelle Leclerc is taking part in the play.
After the documentary Penguin and seagull and their 500 babies released last November, director and screenwriter Michelle Leclerc (Name of the people, Télé Gaucho, Class struggle) returns today with the seventh film, Flavors and colors – in theaters this Wednesday. Director of It is Mr. Sim’s private life continues to explore his penchant for social comedy, where opposites repel and attract each other, this time with a much more musical undertone as the film revolves around the legacy of Daredgein (Judith Chemla), a 1970s rock icon who fell markedly in the summer.
Then two worlds collide: the world of Marcia (Rebecca Marder), a young singer, songwriter and composer who accompanied Daredgein in her latest recordings, and the world of her successor Anthony (Felix Moati), of Bures-sur-Yvette, who never kept in to the heart of this distant relative.
Michelle Leclerc, who can also be found the author of the vast majority of songs recorded for the film (and which form an explosive soundtrack), returns today for L’Éclaireur to the films that have Mark.
What is your first memory of the movie?
My first memories of how I went to the movies with my parents for graduation West Side Story (1961) in Kinopanorama (the mythical theater in western Paris closed in 2002, ed.). We lived in the suburbs, so going to the movies was a real walk. It was a room with a giant screen, it remained a very strong memory. I must have seen Walt Disney before, but my first very impressive memory is. This is a real collective work: music by Leonard Bernstein, choreography by Jerome Robbins, lyrics Stephen Sondheim, directed by Robert Weiss… There are some geniuses in this film, it is an absolute masterpiece.
If you could watch only one movie at a time, what would it be?
May be Dictator (Charlie Chaplin, 1940), who is unsurpassed in his audacity and whose script design I also love. This movie has it all. We can’t get tired of watching it again, showing it to every generation and explaining this unique meeting in the history of cinema of the meeting of a benefactor (Chaplin) and a criminal (Hitler) of mankind. Chaplin’s farce is always imbued with humanism. I think I recognize myself in this way. I don’t really like absurd comedies of this type Party (Blake Edwards, 1968).
A scene that freezes blood?
This is a scene from Woman next door (1981) François Truffaut. It was incredible for me to make such a crazy film, about such a destructive passion. Truffaut’s way of raising this passion in a seemingly banal living environment really struck me, especially in the ending, where the character Fanny Ardan calls the character Gerard Depardieu; they make love, then she kills him before killing herself. It’s a scene of insane violence, but I could watch the movie a thousand times.
A movie that always makes you cry?
I’m very sensitive to musicals – Flavors and colors also marked by this love. If there’s one movie I can’t help but cry about, it’s this one Cherbourg umbrellas (Jacques Demi, 1964). Many people, even my children, do not understand at all. I cry systematically, although I know it by heart. I just need to listen to music for at least the first ten seconds. This is almost a Pavlovian reflex.
A movie you should watch but haven’t seen yet?
There is more than one. For example, I always swore to myself that I would see Theorem (1968) from Pasolini. I haven’t seen many of his films. I never seem to have seen it cheetah (1963) Visconti as well. For other reasons I have never seen Schindler’s list (Steven Spielberg, 1993), I’m afraid it will be too depressing for me. I regularly try to fill in my gaps, but it’s a bottomless pit! In the days of Truffaut and all these film lovers of the 1950s, we could still hope to see all the films released since the birth of cinema. Obviously, this is no longer possible today. The synephilia we create for ourselves is definitely fragmented.
A movie that you enjoy watching again, but that you don’t think about.
I’m rather against the idea of being ashamed of liking something. But I can, for example, talk about a great comedy that I loved, Mustard in my nose (1974) Claude Zidy with Pierre Richard and Jane Birkin. These mainstream comedies of the 1970s have this little “anar” and left air. This is a very unbridled film, I always enjoy watching it again and talking about it.
An actor (or actress) with whom you would like to star?
I would like to shoot with Jean-Paul Belmondo at the timePanting (Jean-Luc Godard, 1960). This is the third film I’ve made Felix Moati, I think he has something from Belmondo, this kind of joke that I really like. Otherwise, I’m stuck on the actors of the 1970s who made me famous, Robert De Niro, Al Pacino, Dustin Hoffman… Unlike someone like Tom Cruise, who doesn’t interest me at all!
Music from movies that you always like to listen to again?
I love Nino Roth. I listen to the soundtrack very often eight and a half (1963), Amarcord (1973), Fellini’s films. He radiates a kind of magic in this rather naked instrument, with this mixture of circus music, great melancholy and nostalgia. He is well known for his music The Godfather (Francis Ford Coppola, 1972), but he is primarily a composer Fellini. But, of course, I could mention others, Ennio Morricone, Georges Delereau, Bernard Hermann, etc., not to mention the musicals I mentioned.
The last movie that marked you in the movies?
I saw Onoda Arthur Harari a few months ago. I wondered how he would be able to make a three-hour film about someone who comes into contact with his own honesty. A real tour where the young French director managed to make such a powerful film.