I will freely admit that I have a soft spot for films that
tell stories like that of Marguerite’s. This is a story of an artist who doesn’t know
that what she produces for the world is the subject of ridicule and mockery,
but her passion for her art form is so genuine that it is hard not to feel
sympathy for her lack of talent.
Essentially, this is the sort of story that we usually see told about
mad auteur filmmakers like James Nguyen and Tommy Wiseau, people whose ambition
blinds them to the fact that they aren’t making anything of the artistic merit
they boast. Marguerite may be fictional and about opera singing rather than
film direction, but its story is very much in the vein of The Disaster Artist.
Set in 1920s France, aristocrat Marguerite Dumont performs
for her local music club as a vocalist, but her singing is so terrible that her
audience must either retreat to the next room or prevent themselves from
laughing at the spectacle. Even
Marguerite’s husband, Georges, is ashamed of her, contriving excuses to miss
her recitals, yet preserving her feelings by fabricating acclaim through
adoring fans’ gifts. When Marguerite
receives a subtly mocking review that she mistakes for praise, she ventures out
to meet her critic, which sets her on a journey to perform her first public
recital while Georges and various other acquaintances choke back telling her
that she is only setting up her own humiliation.
The film is structured as a comedy and works remarkably well
despite the French language barrier, with absurdist surrealism of the era
beautifully complimenting the stunned reactions of Marguerite’s audiences. Catherine Frot plays Marguerite with an
obliviousness that seems almost willful, and her desire to only make her
husband proud is what makes the film also function in its more tragic
turns. There’s a desperation and constant
anticipation of disappointment in Marguerite’s every action, so it’s easy to
feel sorry for her when her hopes and dreams are betrayed as reality begins to
crash down around her. I can think of
few films that so cleverly balance comedic tone with heartbreaking tragedy, but
the juxtaposition never feels forced.
However, the screenplay could have used at least one more revisionary
draft to strengthen its structure. A
couple of minor characters have a romantic subplot that either needed to be
further developed or cut entirely, but seems entirely superfluous as it
stands. The bigger offense, though, is that
the film effectively has two climaxes, framed in different ways but ultimately
communicating the same idea. If the
second climax had worked to change the end result of the narrative, I would
have been on-board for its inclusion, but it only functions to extend the film
by an extra twenty minutes with no new thematic information conveyed.
These are minor issues, though, as the performance of
Catherine Frot and the witty dialogue of Marguerite
are easily enough to recommend it. Its
theatrical run may be limited here in the United States, but I strongly
recommend searching it out or finding it on home video in a couple months. It’s a gem of a film that shouldn’t be missed
just because of its foreign origin.
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