There are real dynasties in the world of cinema. Chiara Mastroianni, the Cannes mistress of ceremonies, officiated at the Palais des Festivals under a portrait of her mother, Catherine Deneuve, on the poster of the year. We also saw her pay tribute to this mother who went up on stage.
The actress of beautiful day specified to think a lot about Ukraine before declaring open the 76e Cannes film festival. As for the American Michael Douglas, he received his palm of honor by honoring his own father Kirk, a true monument of the seventh art. Family is sacred.
Before the ceremony, we were treated to a well-stocked red carpet, all the gratin of stars from France, Hollywood and elsewhere paraded. Quebecer Xavier Dolan climbed the stairs too. He has his habits at the Palace. But the lights would soon go out to the joy of some, to the discomfort of others.
The opening movie, Jeanne du Barry of Maïwenn, was preceded by an aura of scandal. In support of Adèle Haenel’s rants, nearly 125 French actresses published a missive on Tuesday to Release denouncing the political choices of the Cannes festival, declared an accomplice of the aggressors of all stripes.
The signatories are also against Jeanne du Barry. The volcanic Maïwenn, who also holds the title role, is a woman at the antipodes of the values of the day. Its actor, the American Johnny Depp in Louis XV, even more. Both carry around their bad reputations on the Croisette, he for his marital troubles in a highly publicized trial initiated by his last wife, she for her violence against a journalist. Return in majesty, for the fallen actor of Hollywood thanks to a French film? Not sure. Facing the cameras, Thierry Frémaux, the general delegate of the festival who takes his talent, gave him the hug. Enough to irritate many.
The splendor of the times
Cannes is not Versailles, but the two institutions confronted each other in their time. The French Revolution cut the necks of aristocrats and sounded the death knell of the monarchy. Today, changes in mores are shaking old complacency towards the kings of the screen. The film gave the opportunity to compare French splendor over two eras. The celebrities in evening dress suddenly evoked the elegance of the Hall of Mirrors where several scenes were filmed.
The filmmaker identified with the jagged destiny of the Comtesse du Barry, born a commoner, who became a courtesan. Maïwenn had been an actress at the age of six, in a relationship with Luc Besson at the age of 16. Out of family, she knew a stormy life from the abyss to the light.
His film is classically crafted, against a backdrop of palace splendours. A first for the filmmaker polishes, accustomed to delivering social or intimate contemporary works. If violence is still on the menu, it is this time, in the radius of perfidy and exacerbated jealousy, rather than physically. Because the Court will give no quarter to the insolent favorite with whom the king fell in love. Behind their fans, the king’s daughters plot with the courtiers the downfall of this schemer. Years later, she will be guillotined like Louis XVI and Marie-Antoinette, without these bloody scenes being on the screen. Thus passes the glory of the world.
Actor and filmmaker would have clashed, it is said, on the set. Johnny Depp had the whims of an American star, also a historical vision of his character that Maïwenn sought to charge with fiction. To which of the two do we owe the final choices? We ignore it. “She’s a great director with very consistent choices,” Johnny Depp said gracefully on the red carpet.
Work in successful costumes, with candlelight lighting at the Barry Lyndon of Kubrick, without the ironic charge of Ridiculous by Patrice Leconte, almost wise, often shot indoors, very masterful in the image, Jeanne du Barry is a piece if not of a king, at least of a prince. The manners of Versailles, cruel and absurd, always impress.
The temperamental actress was made for this role of the spunky and passionate royal lover. As for Johnny Depp, his American accent is barely perceptible in French. He hardly shocks in the end, even if French sensitivities felt, from his selection of actor, outraged by the choice of an American as French monarch. Whatever the case, his charisma remains intact and he defends his character with charm and conviction. The young dolphin and future Louis XVI is embodied by Maïwenn’s own son, Diego Le Fur, physically more elegant than his model.
Pierre Richard, Louis Garrel and Melvil Poupaud inherit convincing supporting roles. The film, released in France in stride, should please the public unless the controversy swells and creates a jam. Still, the work, screened here out of competition, should get away with it honourably. That is not the question, say his detractors.
Odile Tremblay is the guest of the Cannes festival.