Mauvais Sang
- A heist into Leos Carax’ dream world -
★★★★★
(a must watch for lovers of French and European cinema)
Carax is making an exiting and bold statement: he is saying good-bye to the Nouvelle Vague and heralding a new era in French cinema.
“Mauvais Sang” is not the first film by Carax I've seen. I have already watched “Les Amants Du Pont Neuf”, “Boy Meets Girl” and “Pola X”. The latter was the first film by Carax that I ever watched and it made me want to know more about this talented filmmaker. I was surprised to find out that “Pola X”, which I loved, was actually considered by most critics a huge disappointment. I had to ask myself: what were they expecting? How does “Pola X” differ from his previous works to generate such incensed reviews?
To answer these questions I’ve set myself onto a cinematic journey to discover Carax’ films and to understand why critics were so disappointed with “Pola X”. In the process I will share my thought with you and hopefully garner a deeper understanding of this exceptional director.
… and so, few nights ago, I crawled up in bed and watched “Mauvais Sang”.
I don't think that summarizing the plot would be of any help to anyone. Somehow I think that reducing this film to mere cause and effect would not do it justice. Let’s just say, pro—forma, that Marc and Hans, respectively played by Michel Piccoli and Hans Meyer, need the help of Alex (Denis Lavant) to steal something for a rich American woman (Carroll Brooks). To add to the plot, Alex falls for Marc's girlfriend Anna (Juliette Binoche) and his ex girlfriend Lise (Julie Delphi) is mad with jealousy… This SHOULD summarize what happens here, a heist gone wrong BUT “Mauvais Sang” is a strange film.
I liked it, a lot, but I cannot single out a specific reason as to why I did. I could tell you: "The photography was amazing!" or "The editing is so sharp, to the point, very concise!"… But talking about a film in these terms to me is like talking about a symphony by decanting the virtues of the wood that constitutes its violin section: although it is accurate and it holds a certain degree of truth, it doesn’t tell you anything about the quality of the symphony in itself. It is true though that this film is a marvelous collection of technical and artistic accomplishments, but without Carax’ authorship, which transcends the photography or performances and the edit, none of it would have left me with such an enduring echo.
In "New Cinematographers" by Alex Ballinger, I’ve found a whole chapter dedicated to Escoffier and the three films he shot with Carax. From this book I’ve learnt that “Mauvais Sang” was Carax’ first color film. And it shows. Not because Carax doesn’t know what to do with color, rather the opposite. Carax is very aware of color and he uses it with parsimony and to great effect. He hasn’t completely forgone black and white, they are still his predominant tones, but they are complemented by contained splashes (or slashes) of color.
If you wish to know more about Escoffier and his work in “Mauvais Sang” I strongly suggest you to get a copy of “New Cinematographers” and read about his custom made light rigs, his endless camera tests to get skin tones right (especially of Denis Lavant's corrugated face) and how they cut the bottom of a wicker basket on a hot air balloon to shoot the skydiving sequence ... simply phenomenal!
While I was watching “Mauvais Sang” I repeatedly asked myself: “What is Carax trying to accomplish here?” Most reviewers would say this is a film about thieves stealing some kind of vaccine or that “Mauvais Sang” is a fantasy film ... To me these are oversimplified generalizations and as such they sound hollow. It's always hard to place auteurs in relation with genres and all the more Carax. So what do you think drove Carax to “Mauvais Sang”? I personally saw it as his own personal declaration of independence from Nouvelle Vague AKA French New Wave.
In “Mauvais Sang” Carax creates a dichotomy between the new and the old and places the new heroes of French cinema in direct conflict with the representatives of classic Nouvelle Vague.
Let me explain.
Carax, Escoffier, Lavant, Delphi and Binoche, they represent the new generation while Piccoli and Mayer represents the classic.
For instance Hans Mayer debuted in Godard's “Pierrot le Fou” and Piccoli starred in Buñuel’s “Belle Du Jour” and Rivette’s “La Belle Noiseuse". These are some of the most important films and filmmakers of the Nouvelle Vague!
If we now look at the film in this new light then each charter becomes a symbol for something else.
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If the old American woman represents old classic American conventions, the same conventions that the Nouvelle Vague pays homage to, then all the more Marc is indebted to her as symbol of classic French cinema. On the other hand Alex holds no bond to Marc or the American woman and after the death of his father (that which hold him to the past or an idealized father figure e.g. Classic French Cinema?) he wishes to run away and start anew.
Anna, the true nature of French cinema, is a poetic idealization of innocence and pure love, in need of protection and nurturing. Alex is actually trying to save her from Marc and his old world of allegiances but only his death can redeem her. At the end she is set free from her bond to the past (Marc) and freely accepts the future as she runs towards to the camera in an iconic closing shot.
### Spoiler Alert Ends ###
In my opinion this is an exiting and bold statement Carax is making. He is leaving the Nouvelle Vague while heralding a new kind of French cinema, truly independent and self-defining. History seems to agree with me. In the two decades from 1980 to 2000, French cinema experienced a renaissance, attracting foreign talents and nurturing domestic ones like never before. Take for example the works of Haneke, Kieslowski and Carax himself just to name a few.
The Nouvelle Vague was certainly a revolution; a bonfire of all that old Hollywood had to offer. But modern French cinema, born of the embers left by that bonfire, created a unique and complex language, completely free from the restraints and expectations of the old Hollywood narrative.
I must admit that my quest to understand Leos Carax has only gotten more complicated. After “Mauvais Sang” I have redefined my expectations for this renegade director and my new insight into his body of work pushes me to watch “Pola X” again before I can pass judgment.
In conclusion, if you are up for a night of cinema that defies conventions, and wish to experience a brilliant cast that includes giants such as Michel Piccoli and early performances from Juliette Binoche and Julie Delphi, do yourselves a favor and watch “Mauvais Sang”. What I have to do next is to rewatch "Pola X" and prepare myself for "Holy Motors" - Carax, Lavant and Piccoli together again!
Stay tuned, as I will be reviewing “Pola X” soon!
Yours Truly,
Gabriele
