Since La bostella, he made his first movie 20 years ago, then on the blackboard or according to his outrageous radio interventions, Baer maintains the café-theater singing, a smiling French rhetoric. Pleasure of words and wearers who have never abstained from melancholy, but whose first peculiarities always seemed plainly earthy, and the spirit of band and camaraderie set him in the guilty tail of a certain French tradition.
Thus, to see him upgrade bye paris With descriptive teasers about the promise of great Rabelais food, we were terrified to see him follow himself in a grotesque-inspired nod. actors De Blair celebrates, for the umpteenth time, the same talents and the same performances.
Are you ready for a good soup?
For a while, we honestly believe this comic is forced to unbutton the pants it would play for us. Old glories unite, first drinks are served, kind words mingle. But instead of bees collecting pollen from the lush flowers of Parisian culture, it’s more than that Tired hornets vibrate on the screen. The verse was also in the fruit from the film’s first stills. Trembling, Jackie Berwyer portrays a distant echo of the philosopher Lucien Gervinon, frail and sick, reluctant to find his comrades in the past. Benot Poelvoorde is a somewhat lost actor, honored as he is horrified at the idea of being invited to a mysterious lunch that the whole of Paris dreams of attending. Already, a bit of frustrated frustration rises.
And once our heroes reunite, the entire projected program begins to rot at its feet. Eid is late. We exclude some, make fun of others. In this group of old friends, the cultural emblems of Paris, love turned and tongues branched. The theatrical director embodied by Pierre Mourad dares to utter nonsense, the writer Solersen who portrays Pierre Ardetti would humiliate him for a long time. Who was the most vile this year?mocks Daniel Prevost, as if to show us that if Closerie des Lilas was empty, it was not because it was privatized, but because it would be a purgatory for a regiment of old bastards.
Prepare to impress
Behind the camera, Baer is having fun. We can criticize him for the extreme simplicity of his apparatus, which here never seeks to transcend his unique decor, which applies no formal theory, principle or experiment, when he is not purely unconcerned with form. Let’s say insteadHe’s making a choice, immersive, not sexy, to make his bid for massive competitions, for the energy fluctuations in his meal are unlikely. Less straightforward than it sounds, the process is elaborate to perfection.
Even in the most cruel sketches, like the desolate self-humiliation of Bernard Leacock as a handsome old captain, The dynamics of all always find the right vibration. The director and playwright seems to have found, for each of his interpreters, the exact distance between character, artist, individual and what the audience already knows about his talent. Poelvoorde is still the pesky clown who unleashes laughter or cold sweats since he happened near you, but rarely has he been a pathetic, seemingly poor comedic production.
Smiles won’t last long
The same is true of the Arditi, whose tension of the Archaic Gaul is legendary, but here they are used as emblems of a savage and poisonous figure, even in the embarrassment it generates near the beloved guide, but his illness also causes. Too much concern to be looked at with sympathy.
Of course, bye paris He retains a lot of tenderness for his toothless beastone imagines that the disappearance of Jean-Pierre Mariel, Jean Rochefort, in recent years, was not for nothing in the ghostly atmosphere hovering above all, this dazzling light as the meal progresses, as the corpses heavier, it is not known whether they are digested or hardened .
Melancholy and cruelty encapsulate Adieu Paris with a frankly unexpected cruelty, but what is most surprising, when given this perfectly cliched story about old blue beard, is the sadness that binds it all together. Emotion gradually gains the story, and it’s a lookEdward Baer himself who comes to announce the point of no return. As a belated and ill-intentioned guest, he not only positions himself as the leader of the music but, if necessary, brings out the personal and emotional dimension of the company. Because, and the movie never highlights it, its subject matter has nothing to be trivial or innocent.
Those old comrades who meet again (too many) are a distant echo of a club that already existed, even raining occasionally and shining on Parisian culture. The group was frightened, envied, conceited, imagined, already represented, on the board and on the big screen (already with Bayer) in club tie. However, the aim ofbye paris Not a cocky wink aimed at insiders. It’s a bitter breakup letter, a stubborn look at yesterday’s accomplices and their slow drift. It is difficult not to see in the director’s gesture a sad betrayal, a long-awaited stab.
The last lap of Jean-Francois Stephenin
In front of his camera, old glories realize that they began in the last lap measuring each other, judging each other, without finding the strength to devour each other. We can feel all the sympathy, the gloom unfolding here, like any feast in a restaurant, It’s time to pay the bill. Thus, each one finally appears for what it is. Wicked, vicious, selfish, liar or manipulative, unable to hide his vices anymore, he has forgotten his virtues. The curtain fell on an ancient world, it was a little too late not to distort the memory.