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570  470 TEXT LINER Directed by  Jacques Audiard Jacques Audiard's reputation in France belies the fact that he has only directed three films. Read My Lips, his fourth, will certainly add to his aura, for it is a skillfully made, eerie and unsettling work. To describe it as a romantic thriller is to miss its many subtleties; Audiard's highly disciplined eye, his ability to strip the narrative down to its essentials and to keep the audience uncertain as to which way the story will unfold, provides much pleasure. Carla, a loyal, hardworking secretary, is beginning to chafe at the limitations of her career. But as a 35-year-old woman with a hearing deficiency, she is not sure how to climb out of her humdrum existence, though she is confident in her own abilities. Into her life comes Paul Angeli, a new trainee. Paul is 25 years old and completely unskilled; in addition, he's a thief, fresh out of jail and very good-looking. It's a case of good meeting bad; Audiard slowly turns Read My Lipsinto a cagey dance for position and power between the two. As both characters get to know each other better, their strange, mutually dependent relationship ties them together in dark and fateful ways, leading us towards an unexpected climax. Additional Notes Show Times 4/21 Castro Theatre 3:00 READ21C 4/28 PAR 8:45 READ28P More about Sur Mes Lèvres All that glisters... Jacques Audiard's films expose the reality beneath the gloss of French society. He made his name by puncturing the myth of the Resistance. Now he has turned his attention to the false glamour of gangsterism, writes Peter Lennon. Saturday May 25, 2002 The Guardian Jacques Audiard speaks with a fierce rapidity, his sentences sauced with argot, his driving delivery crashing through the babble of voices and the clatter of dishes in the Dôme restaurant at Montparnasse. It's hard not to think of the director's father, screenwriter Michel, who for 40 years supplied French film hoodlums with pugnacious jabber in works such as Next Time I'll Kill You, Leontine, and She No Longer Talks She Shoots. At first sight Audiard could pass for a hoodlum himself, lean and with a truly mean look when he dons his woolly cap, which seems to have ambitions to become a balaclava. But that is not the full story. As a young man, Audiard was determined to keep clear of cinema and studied literature and philosophy at the Sorbonne. He takes a more intellectual line than his father, as we saw in his superb and complex 1996 movie A Self-Made Hero. Audiard's new film, Read My Lips, tells the story of Carla, a timid, secretly deaf office worker (Emmanuelle Devos) who helps a trainee with a criminal record (Vincent Cassel) hold down a job in the strange world of fax machines and photocopiers. He then uses her lip-reading skills to pull off a theft. The first part is shot in tight, imprisoning framing; the isolation of deafness becomes the point of view. But the silenced world around Carla gives up its secrets through her unsuspected skill. The story then opens into the garish, violent world of nightclubs and gangsterism. "From the first I wanted to tell a story of two people on the margins," says Audiard. "To describe two forms of exclusion - people of limited talent who meet and create a 'complementarity', the incompetence of one becoming the competence of the other. I thought of using an ugly woman and a handsome lad, but ugliness is hard to convey - it is too subjective. Then I thought of deafness, and matched it with lawlessness." Modern French films seem inordinately reliant on gangsterism, however. Would timid Carla so readily enter that frightening arena? "You must remember that the film is partly ironic," Audiard says. "The first part had to be absolutely believable. The spectator had to say, 'Oh yes, I recognise that world.' From this reality, I needed the girl to go through a series of fictional, unbelievable adventures. But it is a fantastic story, a romantic story. If the beginning had not been powerfully realistic, what followed would not have been possible. From there you can take the spectator where you want, on to a merry-go-round. Carla stretches her talent for lip-reading and, in effect, brings home the bacon. "I chose Emmanuelle Devos," he adds, "because I have known her work for ages, both on stage and in film. But she never had a leading role. I thought it would be more convincing if Carla were played by someone not very recognisable to the general public. Vincent Cassel, of course, has had a long career in cinema." When Audiard was growing up, everything pushed him into the movies. As the son of Michel - who was involved in more than 100 films - Jacques grew up surrounded by stars such as Jean Gabin. "And it was much more than that," he says. "The whole family was in the business. My uncle was a producer, my sister is a film editor. But in my adolescence I never wanted to do film. I only got interested when my then girlfriend, a film editor, suggested I should work as a trainee editor during the long university holidays. I worked as an assistant editor for four or five years and learned an enormous amount. But I still did not go into cinema. A friend got me to join a theatre, where I did all kinds of work. Then one day he had me adapt work for the stage. It was only then that I decided I wanted to write." Audiard made some well-received shorts and wrote half a dozen screenplays. He did not make his first feature, See How They Fall (1994), until he was 42, and by then he had access to a strong cast. It is a noirish thriller, with two interlinking plots - one featuring the murder of a cop, the other the befriending of a slow-witted boy by a conman - and stars Jean-Louis Trintignant, Jean Yanne, Bulle Ogier and Mathieu Kassovitz. Kassovitz and Trintignant returned two years later for A Self-Made Hero, the story of a young chancer who rises high in post-war French political society by concocting a past for himself as a Resistance hero. The movie won Audiard a César award for best director and raised him to international status. Was it his intention to undermine the myths of the Resistance? "I belong to the 'after-war' generation," he says, "I was the little French boy who grew up hearing people talk of De Gaulle and the Resistance. France against the Nazis! Then when that boy grew up, he began to uncover things. We began to legitimately ask the question, 'What exactly did our parents do during the Occupation?' We discovered it was not the story they were telling us." Audiard makes no claims to originality in this regard. He acknowledges a debt to The Sorrow and the Pity, in which Marcel Ophuls explored for the first time just how tarnished was the true history of the Resistance. Audiard was 20 when the documentary came out in 1972 and he was hugely impressed. I remind him that in 1972 they put bombs in cinemas where The Sorrow and the Pity was shown. "We had none of that," he says. The question of collaboration, anti-semitism and racism could not be more topical, given the success of Le Pen's party in the recent presidential election. "When you see what has just happened in France," says Audiard, "it is obvious where Le Pen comes from. He comes from a kind of French, Pétainist right. He is a pure product of those days. People thought they could cover their eyes and say, 'Look, Le Pen is a Republican now, a convinced democrat - people change.' "Maybe people might change," Audiard concludes. "But I wouldn't like to take the risk." Bloomberg, New York Times and Reuters were used in compiling this report. Respectfully Josie Cory Publisher/Editor TVI Magazine *TVI Magazine, Associated press, Reuters, BBC, and VRA's D-Diaries were used in compiling this news report. A New Way To Advertise - Our 24-hour, 365 days-a-year smart90 number -can be your portal to the web to introduce your movies to the world -- on LookRadio.com Advertise Now - Send your insertion orders and advertising copy or requests to the attention of Bernie Schwartz, Advertising Sales Director, at tvi@Smart90.©om™ Accompanying slides, transparencies, illustrations, photographs, or other computer graphic art and/or complete separations, can be E-mailed to our art department, if you wish. Any items mailed will be returned or forwarded. Advertising material must be received by the 10th of every other month to be included in the following issue. Return to Top

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