Gainsbourg (Vie héroïque)
DIRECTED BY: Joann Sfar
FEATURING: Eric Elmosnino, Lucy Gordon, Laetitia Casta, Anna Mouglalis, Doug Jones
PLOT: Recounts the life of French singer Serge Gainsbourg, from his formative days as a young Jewish boy in occupied France through his relationships with Juliette Gréco, Brigitte Bardot, and Jane Birkin—and also his relationship with his spindly, scary puppet alter-ego.
WHY IT WON’T MAKE THE LIST: A brave biopic that’s true to Serge Gainsbourg’s rebel spirit, but in terms of weirdness, it only goes about halfway.
COMMENTS: Growing up as a precocious Jewish boy in Nazi occupied France, young Lucien Ginsburg (later to reinvent himself as Serge Gainsbourg) amuses himself by drawing a flipbook fable. A pianist (like the boy’s father) is constantly rejected because of his “ugly mug.” The despised musician perversely embraces his detractors’ insults and wills his head to swell larger and larger until it finally bursts and the suavely deformed “Professor Flipus” emerges. The Flipus character (also referred to as “my mug”) shows up later in life as Gainsbourg’s artistic daemon, a spirit materialized as a puppet with glowing eyes and grotesque, oversized features (the sharp-nosed homunculus looks like a debonair version of the Brainiac). Flipus’ parents would seem to be Gainsbourg’s Jewish identity—his puppet ancestor is a six-legged, moon-faced anti-Semitic propaganda poster who comes down off a wall to dance with Lucien in the alleyways of Paris—and his insecurity about his own “ugly mug.” Flipus spurs the budding composer to switch from painting to songwriting by “accidentally” burning up Lucien’s canvases, prods him to seduce various glamorous actresses, and grows jealous and vengeful at the appearance of a healthier muse. Surreal moments are scattered randomly throughout the movie (an inexplicable cat butler, four costumed men who trade breakfast for a song, and visual puns referencing Serge’s albums “Melody Nelson” and ” Tête de Chou”), but it’s Flipus who provides most of Gainsbourg‘s underlying weird texture, and lifts the proceedings above the ordinary. As an introduction for those uninitiated in Gainsbourg’s discography and biography, the movie isn’t wholly successful. If you don’t already know who Boris Vian, Django Reinhardt and France Gall are, you may become confused when they suddenly show up or are referenced. Gainsbourg’s scandalous music, which begins as witty, ribald chanson and develops through the 1960s into lounge-rock psychedelia, is sampled in fast-moving snippets that make it hard to see the lines of development. The movie also suffers from the usual drawback of biographical movies: real life produces great characters, but not necessarily great stories (which is why fiction supplanted biography, after all). Life stories tend to turn into a series of vignettes; fortunately for us, Gainsbourg’s vignettes involve him bedding Juliette Gréco, Brigitte Bardot, and Jane Birkin. A trio of actresses—Anna Mouglalis, Laetitia Casta, and Lucy Gordon—simmer as Gainsbourg’s succession of sexy muses. Gordon’s role is most important, but slinky Casta leaves the biggest impression as a spot-on Bardot, first seen walking a dog in thigh-high black leather boots and a leopardskin miniskirt, and later memorably dancing with a sheer bedsheet tantalizingly wrapped around her voluptuous frame. Constantly shrouded in his own personal nicotine cloud (since the MPAA has started handing out “R” ratings for tobacco use, the chain-smoking Gainsbourg should probably earn a XXX rating), Eric Elmosnino holds his own against his eye-candy co-stars, conveying awkwardness and suavity at the same time. Unfortunately, historical accuracy requires him to metamorphose from a charming rake into a drunken lout, so our sympathies for the protagonist sag at the end: not the take-home note you really want in a “heroic” portrait. Still, given the limitations imposed by real life, Gainsbourg is as a successfully hallucinatory hagiography that will please fans, and make newcomers at least curious to sample Serge’s suave discography.
Director Joann Sfar adapted this, his first film, from his own graphic novel. To his dismay, producers insisted that early versions of the trailer contain no shots of Professor Flipus (though variations have been released since that do show the creation, without hinting at his prominence). One source reports that Serge’s daughter, weird favorite Charlotte Gainsbourg, was at one time considered for the role of her father. On a sad note, model/actress Lucy Gordon, who played a convincing Jane Birkin, committed suicide in 2009 before the film’s release.
WHAT THE CRITICS SAY:
“There’s a bold splash of the surreal in this inspired portrait of a man whose life really is too big for one film.”–Annette Basile, Film Ink (contemporaneous)
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