Our protagonist demonstrates the concentration necessary to fully absorb this film.The French thriller Tell No One is, in addition to being a taut and mostly engaging film, also an example of the kind that may be best experienced as a novel. I haven't read the book by Harlan Coben, but writer/director Guillaume Canet's adaptation of it is so complex that it eventually succumbs to the weight of its details. I'm a pretty perceptive viewer, which is a blessing and a curse. I can pick up on the little details that piece the story together, but I also find it hard to let the little flaws go.
In this case, it was a matter of reconciling the story's timeline and relationships, as well as accepting the fact that some fairly large plot details depended on characters that we learn about for the first time near the end of the film. Everything I've just described is necessary for a good thriller, but for all the mental work we do in getting to the end of this movie, I have to admit I was hoping for a greater reward from Canet.
I don't mean to be sounding this critical of Tell No One; it's worthy of the César awards it won (including for its outstanding soundtrack), and while the whole film couldn't keep the energy of the first half hour, it still kept my attention for the full 125-minute running time.
For this I applaud the ensemble cast led by François Cluzet, Marie-Josée Croze (let's forget that she was in Battlefield Earth, she shone in The Diving Bell and the Butterfly), and Kristin Scott-Thomas (featuring an impressive fluency in French). Canet even cast himself as one of the film's most disgusting characters. Some sudden adrenaline bursts also help keep the story moving along briskly, including one of the better footchase I've seen in a while (and one that features brilliant cinematography).
I've yet to mention even one detail about the plot. Does that matter? Tell No One is not the kind of movie you see because you're interested in its story, but because you're interested in how that story is told. By that measure it's a success, albeit it a success that I doubt will leave a lasting impression with me.
Just saw this one on Saturday. I agree it isn't perfect, but it is one of the most taut and well crafted films of its genre lately. That's a pretty noteworthy feat in and of itself.
ReplyDeleteI'd love to see this one. It's showing this month at the Boston French Festival at the MFA, but I don't know if I can find the time at night to see it there.
ReplyDeleteIt seems like we've had a similar experience watching this film.
ReplyDeleteEnjoyed it on the whole, loved it in parts (the chase sequence) and baffled and bored in others.
It felt a little too flabby and, like you say, much is made of people that you don't really invest in.
I myself have some serious issues with this film. I will be writing a 3 of 5 star review of it, but this week's French cinema exposure yielded a much greater film with the Asia Argento-starrer THE LAST MISTRESS. I admit there is a potent emotional level to TELL NO ONE, and that was quite a taut and electrifying escape sequence (from the doctor's office window) but the plot was messy and convoluted, and the film was too long (for this genre) Ironically, the film has received excellent reviews, but for me this year French cinema has given us better: Rivette's DUTCHESS, THE GROCER'S SON, LA FRANCE, ROMAN DE GARE, LOVE SONGS(flawed but still fun)and the aforementioned LAST MISTRESS.
ReplyDeleteAha, didn't realize so many others had already seen this bad boy.
ReplyDeleteMatthew, the French are on a roll these days, but I feel like for the most part they're at the level of Tell No One and Roman de Gare: fresh and worthy attempts that don't quite reach excellence. Hardly something I can complain about, though, when most American thrillers are like Unbreakable.
It may be a fun festival film, k, but at over 2 hours I can see why it might be difficult to schedule. If Priceless is playing, make the trip for sure. I think that's the best French film of the year so far, next to The Grocer's Son.
Haha, I don't use the word "flabby" enough in talking about movies, Ibetolis. Yes, we see eye to eye. Speaking of which, wasn't that chase camera awesome when it was in front of his face while he was running? I don't know how they did that.
I look forward to your review, Sam, especially considering the number of other French films you can compare it to from this year. The Last Mistress hasn't made it here, but I'll keep an eye out.
Sam I thought this was much better than THE LAST MISTRESS. But you know my feelings on that one. I'm starting to think Asia Argento is a cinematic kiss of death.
ReplyDeleteDid anyone else see MOTHER OF TEARS? Dear god...
Daniel, you didn't like UNBREAKABLE? It's one of only two Shyamalan films I like, and I really like it a lot (especially James Newton Howard's score...wow). I know it has plenty of detractors though.
Haha, an interesting error. I actually didn't like Unbreakable either, but what I meant to type in that space was "most American thrillers are like UNTRACEABLE."
ReplyDeleteThey're actually showing another Audrey Tautou film -- Hunting and Gathering, a romantic comedy co-starring Guillaume Canet (who directed Tell No One). I'm looking forward to its American release.
ReplyDeleteYou know that sounds familiar from somewhere, k, but I can't remember why...anyway, sounds like it could be a winner and I'll keep an eye out for it. Apparently Canet is considered a "French heartthrob", which is both ironic and disturbing in the context of the bit part he plays in Tell No One.
ReplyDeleteAnyone else think that was a picture of Dustin Hoffman? Maybe it was just me...
ReplyDeleteI'm sure I'll see this if and when it hits Phoenix. My blockbuter overload meter is almost hitting the needle...
ReplyDeleteCount me among the film's fans. The ins and outs of the plot actually didn't do to much for me...too familiar, too predictable, but I loved the main character and I loved that it was a love story at heart.
ReplyDeleteYeah, Scott, Cluzet is a dead ringer - except nobody would confuse the two these days because Cluzet is winning Cesars for Best Actor and Hoffman is first billing in Mr. Magorium's Wonder Emporium. (OK, I know he was good in Kung Fu Panda, but still...)
ReplyDeleteWell, Fletch, August looks to be a fairly painful month for the most part as the worst of the blockbusters get churned out before Oscar season. I'd be curious as how you compare this one to Roman de Gare, since I know you enjoyed that more than me.
I really should have made more of Cluzet's performance, Craig, which is by far the best aspect of the whole movie. Good thing he's on screen for almost every scene.
I actually quite liked this film (and mentioned myself how much Cluzet resembled Dustin Hoffman). What I find significant about Tell No One is that it has gotten a decent release in this country. I thought at the time that it was an attempt - and a good one - by the French film industry to capture the thriller market filled currently by things like the Mission Impossible and Bourne series. I really think the EU intends to give Hollywood a run for its money.
ReplyDeleteThat's an interesting theory, Marilyn. I guess I just take for granted that these foreign films will finish the arthouse circuit and never be heard from again, but if you're right, movies like Tell No One and Roman de Gare will continue to get wider releases and, just maybe, attract major attention from U.S. audiences.
ReplyDeleteOf course I might have said the same thing after City of God, but despite its popularity, few people saw City of Men in its limited release this year. But - the French film industry is much more viable than Brazil's at this time.
I'm not sure France is aiming to dominate the U.S. market--though they'd like to get their share--as much as the world market. Americans still hate subtitles. France has traditionally produced very talky films that require endless subtitles. Tell No One kind of breaks that mold.
ReplyDeleteThis is true (especially as there is relatively not much dialogue), but I wonder, are those films deliberately adapting to American tastes, or have there always been a few made in that way (flashy action, time cutting, etc.) and we just never knew it? I obviously haven't seen enough foreign films from decades past to know.
ReplyDeleteI have seen many French films, and the difference in Tell No One was extremely apparent to me. I can ask my cousin, who has lived in Paris for more than 30 years about it (she's in town visiting) just to confirm, but when I think of French "action" films, I think of Breathless--definitely NOT an American-style film.
ReplyDeleteSo then does that mean French filmmakers are abandoning "their style" just so they can adapt and appeal to a wider audience, and I wonder - is that good or bad?
ReplyDeleteI'm not one to box any person or place into a corner; I just hope the most "French" aspects of those films don't dissolve away.
That was exactly the concern I voiced in my review of this film. I don't think French films as we know them will go away, they will probably just broaden to encompass the kinds of worldwide moneymakers the U.S. is noted for.
ReplyDeleteCanet represents a new generation of French filmmakers (I called him the Robert Redford of France) who I feel are more global in their approach to their craft, being younger and more accustomed to connecting to the world via the Internet and other new-generation technologies. I think it could be a very welcome development if it complements, rather than replaces, more peculiarly French product.
I doubt that France could overtake the world market on thrillers, Americans are far too subtitle-averse.
ReplyDeleteHowever, they definitely showed up most of the American thriller product here.
Indeed, Marilyn, and it all rests on that "if". By the way, I couldn't find your review on FoF. Was it posted there or somewhere else?
ReplyDeleteMatthew, you made me really think about it, and only now did I realize that a fair amount of the dialogue was in English. I think? I have no issue with subtitles so it all blends together for me. Actually now I'm wondering if I'm completely wrong and not actually thinking of a different movie entirely. I saw Man on Wire last night - French again - so my languages are all muddled in my head. I think Man on Wire is what I'm thinking of.
I don't have the most efficient search function on FonF. Here is the link:
ReplyDeletehttp://ferdyonfilms.com/2008/03/tell-no-one-ne-le-dis-a-person.php
Thanks. I browsed and searched but didn't go back as far as March.
ReplyDeleteIt has some English dialogue, but not much. Not like THE BAND'S VISIT, anyway.
ReplyDeleteThanks for the clarification. Like I said, I think I'm at the point where I don't even notice subtitles.
ReplyDeleteThe unfortunate irony about the The Band's Visit was that it featured too much English to get a Best Foreign Film nomination, but at the same time too many subtitles to get attention from American audiences.