6.1 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
A beautiful, perplexing and headstrong secretary struggles with her sanity when a last-minute work assignment and an impromptu trip to the seaside turn nightmarish.
Starring: Freya Mavor, Elio Germano, Stacy Martin, Benjamin Biolay, Thierry HancisseForeign | 100% |
Psychological thriller | Insignificant |
Thriller | Insignificant |
Drama | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
French: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
English: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
English, English SDH, Spanish
25GB Blu-ray Disc
Single disc (1 BD)
BD-Live
Region A (C untested)
Movie | 2.5 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 3.0 | |
Overall | 3.0 |
Director Joann Sfar agrees with critics who say that his third film, which we'll call The Lady for
brevity's sake, is a 90-minute music video. What's more, he's proud of it. Anyone making that
criticism probably gets what Sfar is trying to do, but they just don't like the results.
After bursting onto the cinematic scene in 2010 with Gainsbourg: A Heroic Life, the former
graphic novelist says he was offered every French script involving a bio-pic or a Jew, but he
wanted to try something else. Along came a new screenplay adaptation of the classic crime novel
by Sébastien Japrisot that the author himself had previously adapted for a 1970 film directed by
Anatole Litvak (Sorry, Wrong Number and The Snake Pit). Sfar, a fan of the novel, leapt at the
chance to make a thriller that would let him indulge his passion for American genre cinema.
There was just one problem—he hated the script penned by producer Patrick Godeau and writer
Gilles Marchand (With a Friend Like Harry).
Jettisoning much of the script and returning to the text of Japrisot's La Dame dans l'auto avec
des lunettes et un fusil—the rambling title comes directly from the book, which is a classic of
French crime fiction—Sfar storyboarded the entire film in graphic panels, shot it on a tiny
budget, then went through a long and agonizing process of editing and post-production that he
describes in the Blu-ray extras. The result is an extended collage of sights and sounds with a plot
that barely makes sense even after it's (mostly) explained at the end. Sfar had been developing a
version of The Bride of Frankenstein, and he now says that he ended up making his monster
movie with The Lady. Certainly, in its overall tone of dread and dislocation, The Lady echoes
classic horror, but it also incorporates elements of film noir, magical realism and giallo.
Whatever one terms the final result, it's unlike anything else out there, but one's ability to enjoy
Sfar's creation depends less on a willing suspension of disbelief than on relinquishing any
expectation of coherence.
The Lady was shot by Belgian cinematographer Manuel Dacosse (The Strange Color of Your
Body's Tears), whose style was summed up by director Joann Sfar as "he doesn't add lights, he
removes them". Dacosse and Sfar intentionally shot The Lady as if it were a black-and-white
film, with an emphasis on shape and line and an almost abstract approach to composition.
Expressionist cinema, giallo and Fritz Lang were among the visual references.
Although the format is not specified, The Lady is self-evidently a digital production, and
Magnolia Home Entertainment's 1080p, AVC-encoded Blu-ray was presumably sourced directly
from digital files. The Blu-ray image is crisply detailed with solid blacks and good contrast that
faithfully reproduce both the intense closeups on Dany's face and the larger tableaux in which
her striking figure is arrayed against a background of people and buildings. Consistent with the
aesthetic outlined above, colors tend to be muted and pastel, with an occasional exception when a
strong, saturated color (usually red) dominates the frame.
Given the frenetic editing in multiple sequences, one would have hoped for a consistently high
bitrate, but Magnolia has mastered The Lady with an average of only 21.99 Mbps. Digital
acquisition, the letterbox bars and careful compression have avoided any obvious artifacts or
interference.
Probably because of the limited budget, the sound mix on The Lady's lossless DTS-HD MA 5.1
track is fairly basic. Most of the sound occurs in front, with just an occasional effect (bird cries,
rainfall) extending into the surrounds. The dialogue is clearly rendered (at least, to my non-native
ear), and the track's most important effect is the musical score, which consists of a mix of
original compositions by Agnes Olier and period pop songs in modern arrangements, which
supply much of the film's mood.
In addition to the French track, a dubbed English track is included, also in lossless DTS-HD
MA 5.1
Sfar describes Japrisot's original novel as "Kafka with a lady in a car", and one can certainly see
how that interpretation influenced his approach to the material. But the crippling sense of guilt
that Kafka explored so masterfully in his parables reflected the author's pessimistic view of the
essential nature of human existence, whereas Japrisot's heroine is very much a specific product
of France's history after World War II (a point Sfar himself stresses). Sfar's adaptation of The
Lady omits Dany's background, converting Dany into a cinema archetype—not quite a femme
fatale but certainly a magnet for trouble. As an image, she can be fascinating, and Freya Mavor
makes her a vivid presence, even when her actions don't make sense. But there's a reason why
music videos shouldn't be extended to feature length: An archetype striking a series of poses
quickly becomes perplexing and ultimately exhausting. Rent (or VOD) if you're curious.
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