During Margaret Thatcher’s reign in the Eighties, British cinema was largely downbeat, caustic, political and oppositionist. However over the Channel in François Mitterrand’s France, the motion pictures have been glitzy and flashy, with a horny if superficial neon sheen: the so-called cinéma du look. No director was extra answerable for this than Jean-Jacques Beineix.
He grew to become each famed and mocked for that colossal 1986 hit which launched the smouldering profession of its star Beatrice Dalle: Betty Blue, a steamy drama during which an aspiring author embarks on a passionate, harmful affair with Dalle’s impetuous siren, Betty. It was nominated for finest international movie at the Oscars, the Globes and the Baftas and received 9 César nominations. However Betty Blue really received only one César: the horribly acceptable award for finest poster (an award discontinued a number of years afterwards), the iconic picture of the younger Dalle looming superbly up in the blue of deepening sunset-sky with the seashore shack starkly picked out down under on a glowing horizon. It was a poster that adorned 1,000,000 pupil bed room partitions and quickly the film, and Beineix himself, got here to be regarded down on as a callow Eighties style: the legwarmers of French cinema.
However that doesn’t do justice to his audacity, vitality and exuberance, and to the film that made his identify in 1981: Diva, a movie with a residual new wave ethos however with one thing much less political. A younger postman zooming round Paris on a moped (that key New Wave car) is obsessive about an opera singer, performed by Wilhelmina Wiggins Fernandez; he by chance comes into possession of a cassette tape containing a confession which incriminates a prime cop, which will get muddled up along with his personal illicit bootleg cassette of the diva singing the passionate soprano aria from Alfredo Catalani’s opera La Wally, Ebben? No andrò lontana, with its window-shattering excessive notice.
Beineix single-handedly made this stunningly dramatic aria well-known amongst non-opera followers (to the irritation of hardcore opera buffs) like a smash hit single from an in any other case little-known album. Undoubtedly, Diva impressed the 1987 portmanteau movie Aria, during which administrators together with Jean-Luc Godard, Robert Altman, Derek Jarman, Julien Temple and Nicolas Roeg every created a brief piece to the accompaniment of a well-known aria. Aria was flash and brash, however some felt it to be a glorified arthouse model of the pop movies that have been changing into in style by way of MTV in the similar period. Beineix was not, nevertheless, concerned.
After Diva, Beineix made what each admirers and detractors felt was his key auteur piece, The Moon in the Gutter, starring Nastassja Kinski as a rich, predatory lady whose future collides with a smouldering dock-worker performed by Gérard Depardieu. His followers stubbornly insisted this was Beineix’s brilliantly playful, vibrant, visually artistic French spin on the American noir style. The naysayers mentioned it was unendurably pretentious and preposterous; Beineix was deeply damage to be booed at its Cannes premiere.
However, final 12 months at Cannes, I considered The Moon in the Gutter as the festivalgoers have been going wild for Leos Carax’s movie Annette, his indulgent, madly bold musical fantasia composed by Sparks and starring Adam Driver and Marion Cotillard. Who can presumably doubt that Carax was influenced by Beineix’s anti-puritan flourish? Each Carax and Luc Besson owed an enormous quantity to Beineix, though it was Beineix’s unhappy destiny to have neither Besson’s enduring business clout nor Carax’s intellectual repute.
In the 90s, Beineix’s star waned, maybe resulting from his characteristically heartfelt however inauspicious film IP5: The Island of the Pachyderms, which was coolly obtained critically and during which his iconic star Yves Montand sadly died instantly after filming his character’s loss of life.
Beineix was usually mentioned to be style over substance. However is that honest? He had nearly as a lot substance as any working director of his time, however much more style, and in truth a sensuous love of style. His Diva and Betty Blue need to be often known as greater than vogue equipment: they have been vivid, vibrant movie-making. And superb to think about Altman, Godard, Jarman et al successfully bowing the knee to Beineix in that Aria assortment.