«Remi without family» or genius

Cinema Wednesdays - Alexandre Wälti

Antoine Blossier delivers a pale copy of Choristers by Christophe Barratier. The story of the orphan has been around since at least the 17th century.^th century and Charles Perrault's retranscription of oral tales. Think of Little Thumb. In other words, if we're going to put this commonplace into images, then we need to do it with new eyes and in an innovative way. Rémi without family is too poorly realized to be anything more than a beautiful and touching end-of-year film.

I can't introduce this article any other way, as much as it pains me to do so. The first scenes of the film already show almost terrifying shortcomings in the direction of the actors. I didn't believe in any of the protagonists' emotions. An impression that stayed with me throughout the screening. It was like Dallas, but in a country family and following two vagabonds from one episode to the next.

Only one or two flashes of brilliance

Maleaume Paquin certainly shines on screen. That's for sure, but it's not enough. Of course, the performances and the benevolence of the acrobat Vitalis (Daniel Auteuil) offer their share of marvels. However, the whole thing feels too much like a succession of joy, grief, sadness, joy, grief and sadness, right to the end. Perhaps it's the end-of-year movie effect.

The main problem? The child's complicated relationships with those he loves don't take. And so, since so much of the film's plot hinges on little Rémi's (Maleaume Paquin) search for identity, I couldn't identify with his soul or his attachment to those around him. I felt nothing for the child or the other characters. It's all been said! The film is bland.

Redo what has been done

A question now arises, and we can move on to a slightly less subjective analysis, perhaps proposing a broader reflection: what's the point of taking up the story of an orphan, which has already been written, and doing what has already been done and redone up to now?

Cinema has to evolve. This is all the more important when a director takes a step-by-step approach to the codes of a particular film genre. When, in addition to the initial story, inspired by the novel No family by Hector Malot, has already been adapted for the small screen in both Japan and France. In short, if we don't bring something new to the table, we'll fail.

This is where the parallel with Les Choristes seems to make sense. Especially as little Rémi also has the voice of an angel, like Pierre Morhange. One that should save him from the fatality of his condition as «poor, orphaned and without identity». More obviously, Christophe Barratier's film shows the main character's affection for those around him, and his urgent need to find someone or somewhere to cling to, in order to give meaning to his life. In this way, he probes abandonment and the emotional abyss.

Orphan in appearance

On the other hand, Antoine Blossier only films the surface of his characters, failing to bring out their wounded intimacy. Perhaps he's fallen into the trap of the period film and costumes - which, incidentally, are very well looked after thanks to costume designer Agnès Beziers. Rémi and his master Vitalis wander from one adventure to the next, with no surprises. Rémi is at the bottom of the social ladder, and climbs back up again by chance as Vitalis's superbness diminishes. Déjà vu, déjà connu.

Write to the author: alexandre.waelti@leregardlibre.com

Photo credit: © Pathé Films