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Bon Voyage 2003 |
Review by Jonathan Cornwell |
Directed by Jean-Paul Rappeneau
PG-13, 114 min. (some violence) |
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Starring: Isabelle Adjani, Gérard Depardieu, Virginie Ledoyen, Yvan Attal, Grégori Derangère, Peter Coyote
Producers: Laurent Pétin, Michèle Pétin
Screenplay: Gilles Marchand, Patrick Modiano, Jean-Paul Rappeneau, Julien Rappeneau, Jérôme Tonnerre
Cinematography: Thierry Arbogast
Distributor: Sony Pictures Classics
Released: 3.19.04 (Limited)
(In French with subtitles) |
Rating:
  (out of ) |
Bon Voyage is a historical drama/comedy with a nostalgia that is hard to dislike; although it takes place in France just prior
to German invasion prior to World War II, director Jean-Paul Rappeneau is determined to soak up every single minute
of background and atmosphere without losing focus on the ever-building storyline. There are many characters, subplots,
and chaotic moments in the pre-war panic of France that carries over to the somewhat humorous tone of the production.
That's not to say that Bon Voyage is a pure comedy; there are scenes that invoke the distress of the coming facist evils.
Rappeneau seems to have so much to portray that it becomes difficult to conclude plot threads without cutting corners.
Despite its shortcomings, the film is so lavish, so confident in its construction and characters that it eventually wins over
the audience.
The film centers around Viviane (Isabelle Adjani), a famous actress in Paris who uses her sex appeal to lure men into
taking care of her every need. There are four suitors - Jean-Etienne Beaufort (Gérard Depardieu), a cabinet minister
in the midst of political upheavel; Alex Winckler (Peter Coyote), a reporter who is a Nazi spy; Frederic (Grégori Derangère),
a writer who is a childhood friend of Viviane; and a financier who blackmails her. When Viviane finds herself in trouble
after the murder of the blackmailer, she calls in Frederic to take care of the dead body. Of course, he's left with the blame
as she escapes Paris in the arms of Beaufort, whose government is fleeing to Bordeaux. After an unlikely escape, Frederic
finds himself in the middle of another crisis when he encounters a scientist, Kopolski (Jean-Marc Stehle), who is determined
to smuggle his bottles of heavy water (which could be used to make an atomic bomb) to England. His assistant is the
lovely Camille (Virginie Ledoyen), who slowly finds herself attracted to Frederic. The story continues in Bordeaux, as
Frederic crosses paths with Viviane, who again attempts to use him for her own personal safety, and the scientists search
for the fastest route to England. Frederic must make a final decision between Viviane, whom he has always loved, and
his blossoming relationship with Camille.
What makes Bon Voyage a pleasure to watch is the effortless sense of fun that permeates every scene. Despite
the deadly serious times in which they live, the characters can be both funny and exasperating, finding time for unlikely
relationships during a period of upheavel. It's enjoyable to observe Beaufort and Frederic stumble over and eventually
tire of Viviane's constant indecisiveness. And as Frederic fights with his persistant fantasy of Viviane's love, it seems to
echo Rappeneau's infatuation with the period piece. The film is saturated with fondness for the underpinnings of the
human need for companionship, especially in the light of danger.
Bon Voyage is highlighted by a terrific performance from Isabelle Adjani, who perfectly portrays the quiet desperation
of Viviane's neverending plight. She radiates charisma and charm and can certainly seduce almost any man. Her
character manipulates in order to survive, and it's hard to imagine ignoring her pleas for help. Her performance is like
a microcosm of the film - searching for catharsis when none really exists. Only the hope for better times in an
uncertain future.
© 2004 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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