At the Toronto International Film Festival, the “most anticipated films of the year” follow one another. In such a way that the formula quickly turns out to be hackneyed. However, it is thus: the programming of TIFF is full of so-called “prestige” films, which the studios hope to see compete for the Oscars. Of Slumdog Millionaire at Green Book Passing by The King’s Speech and spotlight, many productions launched at TIFF have subsequently won the Oscar for best film. This vintage, Rian Johnson and Sam Mendes are among the contenders with Glass Onion: a Knives Out Mystery and Empire of Lightrespectively.
Big surprise success in 2019, Knives Outin the running for the Oscar for best screenplay, had instantly brought up to date the august formula of “murder and mystery”, or “ whodunit “, perfected once by the brilliant Agatha Christie. Aside from its gleefully meandering plot, the film boasted a five-star cast who were clearly having a good time. As a bonus: a commentary on social classes as sharp as the knives of the title.
In short, with the bonanza harvested at the box office, a sequel – or even several – was needed. After paying almost half a billion for the rights to the series, here is Netflix launching Glass Onion: a Knives Out Mystery.
Rian Johnson is back behind the camera and on the screenplay, and Daniel Craig is back in the role of private detective Benoît Blanc, a sort of hyperathletic and sexy Hercule Poirot with a vaguely southern accent. As is often the case with sequels, this one opts for one-upmanship, which in this case proves to be a choice in line with the quasi-baroque nature of the film.
It’s about a high-tech tycoon and old friends — an aspiring senator, a former model, a masculine influencer, a brilliant researcher — whom he has invited to his private Greek island. A murder occurs, but, on this, we will not say a word at the request of the filmmaker. Already on site, the White sleuth leads the investigation. In addition to Kathryn Hahn, Janelle Monae, Edward Norton, Leslie Odom Jr., Kate Hudson and Dave Bautista, a host of stars make hilarious special appearances.
At the level of the sub-text, even the over-text when Rian Johnson takes the urge not to cut corners (like this sudden but expertly integrated allusion to the #MeToo movement towards the end), Glass Onion does not have to pale before its predecessor. In this film, the wealthy representatives of the “1%” of this world and their complacent entourage are the target of the screenwriter and filmmaker. And as was the case with the first opus, we laugh, we rack our brains, and we come out of the projection with food for thought.
Ode to cinemas
Sam Mendes’ most recent film is a love letter to cinema and cinemas, in line with Cinema Paradisoby Giuseppe Tornatore, or by The Long Day Closes, by Terence Davies. The plot is largely set in an old Art Deco establishment located in a seaside town in England in 1981. No tourists in sight, however, since outside, the off-season imposes its pale palette.
We follow Hillary (Olivia Colman in yet another award-winning performance), the manager of the Empire Theatre. Around her gravitate Norman, the projectionist (Toby Jones), Mr. Ellis, the owner (Colin Firth), and especially Stephen (Michael Ward, a revelation), a new employee with whom Hillary begins an upset romance.
She is older than him, and she is white, while he is black. In 1981, in this country as in many others, these two things were frowned upon. Never mind, Hillary plunges headlong. For the account, it is Stephen who suffers more from the social repercussions of their relationship.
Featuring typically splendid cinematography from frequent collaborator Roger Deakins, Empire of Light recalls how much the director ofAmerican Beauty, Road to Perdition, 007 Skyfall and 1917, is a gifted formalist. From a formal point of view, his most recent film is a success. From a narrative point of view, however, it is not its best: the story goes in too many directions.
Moments of grace
Between the inclinations of socio-political discourse, with allusions to the rise of the skinhead movement and certain ruthless measures enacted by Margaret Thatcher, the bipolarity suffered by Hillary (evoked and played with poignant accuracy), who at one point stops taking her lithium , and the fate of the Empire Theatre, to name a handful of subjects vying for the top spot, the film struggles to maintain real narrative cohesion.
However, Empire of Light allows itself to be watched without displeasure, if only for the moments of grace created by Olivia Colman and Michael Ward here and there.
“We live in extremely cynical times, and this film is absolutely not cynical,” said Sam Mendes before the screening at TIFF.
With this film out of time and in tune with the times, the filmmaker seems to be asserting that, as long as cinema exists, there will always be hope for a better fate and a better world. Even if it means being content to dream of it while contemplating the big screen.
Admittedly, it’s a bit naive, but the fact is that we ask nothing better than to believe in it. Especially in the context of a film festival.
The film Glass Onion: a Knives Out Mystery hits theaters in November and hits Netflix on December 23.
The film Empire of Light will be released on December 9.