05.28.06
SIFF 2006, day 3
Early in the Morning (un Matin bonne heure)
Guinea
A raw and critical story rooted in the economic exploitation of Africa, Early in the Morning follows Yaguine and Fodé, schoolboys who try in vain to find work to help their poor families. Lured by the symbols of Western affluence and power that surround them, the two stow away on a flight to Europe.
Imagine being 14 and living in a place so dead-end you can think of nothing but how to get out. Now imagine that the place is the entire country, and by some measures the entire continent. That’s the core idea in this film. There are no fancy cinematic tricks at work, no sophisticated storytelling, just a straightforward look at the despair of two teenage boys trying to find an escape. Their desires aren’t even particularly grandiose; Yaguine wants to give his older sister a chance to leave the country without having to worry about his future, while Fode hopes to get his young twin brothers into school, which costs money. The steps they ultimately take are grandiose, and reflective of how desperate they feel. This doesn’t hit you over the head. It just shows us how little these kids have in comparison to our own existence, and how the despair of that feeds on itself. I make a point of seeing films from Africa–particularly sub-Saharan nations–when I can, because I need to be reminded of things like this. This one also happens to be a fairly good film, which in this case is a bonus.
Au Bonheur des dames
France, 1930
Denise moves to Paris where her uncle’s struggling store is threatened by the glamorous “Au Bonheur des dames” department store across the street. Ironically, this is the only place she is able to find work. Based on the novel by Emile Zola, this is a fascinating glimpse of a past economic era. A rare archival print from the Cinémathèque Française, Paris.
The information I heard beforehand on this one called it “experimental,” “avant-garde,” “film noir”–it really doesn’t warrant any of those labels. Rather, it’s a good solid drama (some might say melodrama) with a dollop of social criticism that goes completely off the rails at the end. (I have to be reminded sometimes that pointless happy endings are not a modern phenomenon.) Before the ending, though, it’s most enjoyable, nicely weaving together several storylines that revolve around the store–the store is almost a character in itself. The cinematography is lovely and sometimes breathtaking, using montage techniques that were more common at the time in Soviet cinema and some innovative wide and overhead shots. The print is gorgeous, an amazing restoration job; there are only a few places where any deterioration is even noticeable. And of course I enjoyed staring at all the period clothing. (I did find myself rather distracted by how much star Dita Parlo looked like Janet Gaynor, though.) As with yesterday’s presentation, there was a live performance of the score, which greatly added to the experience. On the whole, I found this a better film and a more enjoyable screening than The Scarlet Letter.