Say What?

Icon

on audiovisual and literary translation, subtitling, and the French & American film industries

The Césars

With all the hullabaloo over the Oscars and its many and varied (seasonal) predecessors, I’ve been wondering about the French Césars, and if they carry the same weight domestically.

A relative newcomer awards ceremony, appearing on the scene just prior to the Oscars’ 50th, the Césars seem more a merit-oriented ceremony (imagine that!) that not only honors the best work of peers from the prior year, but also encourages new talents and nourrishes the industry.

Some interesting factoids:   François Truffaut’s The Last Métro, 1980, swept the 6th year of the ceremony, then the following year Diva nabbed the most, competiting as a first film.  By that time, actress Nathalie Baye had already won two Césars.

This year, it’s a kind of catchup, the way foreign distributions occur, with Avatar pitted against Slumdog, Milk, Gran Torino, and Michael Handke’s White Ribbon.  And into this heavyweight pack J’ai tué ma mère (I Killed My Mother) is also competing, a tour-de-force from writer/director/star, 20-year old about a young gay man’s relationship with his mother.

I had been advised that press reports could or would appear by now (and haven’t), more conclusive proof that it’s simply an awards ceremony – how radical!

Advertisements

Filed under: divers, French film industry, , , , , , , , , , ,

The Year of the Avatar: translation and American film, 2009

This past year, American film discovered the world.  After Slumdog which was utterly bilingual and foreign, but made with USA/UK financing, American filmgoers were swept away by Taken, which seemed utterly American in its take-no-prisoners brevity, yet was 100% French from start to finish (see my interview with Unifrance’s John Kochman earlier this year), and managed to make it into the top 20 box office films of 2009.  (Something that Slumdog, even after umpteen Oscars and a delayed wide release last year, could not do.)

International film production, as not just a soup with different ingredients, but a real mix that can serve varying continental palates, finally, in the US anyway, seems not only viable but necessary and a reality.  By year’s end, Avatar was feeding positive messages to eight-year old boys about the difference between chosen and necessary warfare (via subtitles no less!), and It’s Complicated was subtly reinventing the American romantic comedy in a highly nuanced way, reminiscent and evocative of the other American south (as in “of France”).  And Nine, a remarkable translation of film to Broadway musical to Hollywood musical, announced itself as a flashy triumph of multi-ilingualism, with a literal and figurative tug of war for Daniel Day-Lewis’ heart and soul between the wonderful Marion Cotillard and the amazing Penélope Cruz, and Judi Dench mixing things up with her show stealing “Folies Bergères” number in French.

Having been smitten with both Italian film and Italy in my youth, I could understand why critics might fault the film for its stingy imagination cinematographically, confining the characters’ ruminations to a soundstage.  But certainly Cinecittà was a destination for Fellini and his contemporaries, professionally, and the tribute is fitting I think.

Filed under: audiovisual translation, French film industry, translation, US film industry, , , , , , , , , , ,