“Frantz”, the latest film from Francois Ozon, is a period mystery, with a pacing that reminds one of Hitchcock. It is set in another world Germany and France in 1919, after World War I. before the inflation and reparations got really bad in Germany. The present time of the narrative is filmed in black and white Cinemascope (like Hud), with the flashbacks in a sepia color. The film is in German and French, with subtitles. The name of the tragically deceased character is deliberately ironic.
Anna (Paula Beer) grieves the loss of her fiancé Frantz (Anton von Lucke) and regularly puts flowers on a cemetery mark, even though his body was lost in the trenches. One day an appealing young Frenchman Adrien (Pierre Niney) shows up at the cemetery. Frantz’s father, a doctor, asks him to leave and blames him personally for the horror Germans endured, and says he could never treat him (violating the Hippocratic oath). But Adrien wills his way into the family. We learn that Adrien is a concert violinist, like Frantz had been, but struggles with hearing loss after the war.
The backstory shows how they became friends in Paris (with a hint of gay intimacy), and later presents their tragic accidental and fatal encounter in the trenches, setting up the moral dilemma for the movie.
Yet, there are signs of a bizarre romance between Adrien and Anna. There is a swimming scene and then beach, where the camera dawdles on Adrien’s smooth chest, and then shows the only war wound, near the appendix.
But after Adrien returns to France, Anna goes looking for him, setting up some more ironies in the plot.
There’s a bizarre barroom scene where Frenchmen sing “La marsellaise”, out of Berlioz and out of “Casablanca”, but with some twists in words.
The movie has a brooding film score by Philippe Rombi, and some typical recital pieces, including a movement from a Tchaikovsky Quartet, and what sounded like an Alma Mahler song (I didn’t see it in the credits).
There’s a scene where Frantz’s father blames all fathers for goading their sons to fight for country.
There are critical scenes in the Louvre in Paris, looking at a painting of a suicide by Manet, with viewers filmed from behind, a technique from a famous scene in Hitchcock’s “Vertigo” and in Brian de Palma’s “Dressed to Kill”.
The tone of the film reminds me of “The White Ribbon“, which sets up pre-Fascist ideas.
The color scheme is the inversion of what happens in my screenplay “Do Ask Do Tell: Epiphany”. I put present day (on a space station Rama world) in sepia; true events on Earth in backstory in full color, and fiction embedded in a leading character’s writings in black and white, all anamorphic wide screen.
|Director, writer:||Francois Ozon|
|Format:||2.39:1 Cinemascope, Black and White with sepia color for flashbacks (French and German, subtitles)|
|When and how viewed:||Landmark E St. 2017/4/9 fair crowd (Casablanca was in Dallas at the Inwood Theater in 1982)|
|Companies:||Music Box Films, Mars|
(Posted: Sunday, April 8, 2017 at 11 PM EDT)