Annette

Some advice points before the review. This is a film for a specialist audience. And, a definite recommendation, that the film should be seen in a dark theatre, on a big screen, with no surrounding distractions. It has been directed by idiosyncratic French director, Leos Carax, and for those not familiar with his films, it might be helpful to watch one or other before watching Annette (Les Amants du Pont-Neuf, Holy Motors). And the screenplay is based on a musical story by the renowned Ron Mael and Russell Mael, The Sparks Brothers (recently portrayed in Edgar Wright’s documentary, The Sparks Brothers). Over the decades they have produced many videos of their music. Perhaps Annette can be called a musical. Or, perhaps, a drama with many songs. The narrative is not entirely unfamiliar, a successful performance artist, a successful opera singer, their marriage and daughter, Annette of the title, his reputation sliding, those on the ascent, memories of A Star is Born. However, there are some rather grim variations on that familiar story. The film opens with the stars singing a film about starting, followed by crowds, exuberantly walking through the city – and most of the central action takes place in Los Angeles. And this sets the tone for the film, the songs expressing the feelings of the central couple, becoming more dramatic as the story progresses, even tragic. One of the characteristics of the songs is that the lyrics are plain, sometimes mundane, and repeated and repeated. Rather recitatif. Henry McHenry (Driver) is an eccentric performance artist, called The Ape of God, who plays to large crowds, posturing and declaiming to the audience, twirling the microphone… Audiences are encourage to respond and then become part of the singing chorus. Ann Defrasnoux (Cotillard) is a successful opera singer. She drives in a limousine. He dons a helmet and rides a motorbike. And, interspersed, are some satiric TV news sequences, SBS (Show Business Special) commenting on the stars, courtship, marriage, the birth of Annette. As Henry’s fortunes slide after a serious performance in Las Vegas, condemned as unfunny, he takes to drink. And the film becomes quite grim. With the title focusing on Annette, there is a striking sequence of her birth, nurses and doctor singing a repetitive theme of “Come out…”. And the film uses the device of a puppet playing Annette – who, in fact, has a powerful singing voice, from her mother. Which means then that the film is highly stylised, enticing for some, but may well alienate (rather quickly) those who are not on its wavelength or feel no desire to be on its wavelength. There are themes of performance and the effect on stars, courtship and marriage and sexuality, domestic violence (and Ann having a dream sequence where six women raise Me#Too accusations). Ultimately, the film focuses on Annette, her singing, the effect on her father, the past catching up on him, law and prison, said sequence where Annette farewells her father singing and lamenting that he has no one to love. There is a tantalising quality about it. The film, which nominated for a Palme d’Or, opened the 2021 Cannes Film Festival. Carax won the Best Director award, while Ron and Russell Mael won the Cannes Soundtrack Award.