Clive Owen and Billy Crudup lead a starry cast in a fitfully successful retro thriller
French director Guillaume Canet’s English-language debut has the swagger of a Cain and Abel version of Mean Streets. The film is set in 1970s Brooklyn and Canet is clearly intent on crafting something that Scorsese or Sidney Lumet might have made back in the day. There are moments when he comes close, but no amount of snazzy soundtrack choices and retro costume design can overcome the wearily predictable story and occasionally oddball casting decisions.
Blood Ties is a remake of Jacques Maillot’s Les Liens Du Sang (Rivals) in which Canet co-starred with François Cluzet as anguished good cop brother / callous criminal brother in 1970s Lyon. Canet has co-written his adaptation with James Gray and maybe it is Gray’s influence that tipped the balance towards the conventionality found in his own directorial credits like We Own the Night.
Clive Owen is the surprise choice to play rotten apple Chris. Released from prison after serving time for murder, Chris moves in with his loyal but wary brother Frank (Billy Crudup). Chris makes all the wrong choices yet always seems to come out smiling. Decent, law-abiding cop Frank ties himself in knots yet slowly surrenders his grasp on the life he wants. The film throws up moral dilemmas for both men as blood proves thicker than water and redemption remains possible, even at the eleventh hour.
Blood Ties never quite gets as gritty or grimy as you might have liked, although Canet does draw some sharp performances from a heavyweight cast that includes 1970s veteran James Caan as the brothers’ father Leon and a fierce Marion Cotillard as Chris’s drug-addled ex-wife Monica. There are scenes, moments and performances that all burn brightly but the sprawling Blood Ties never quite lets rip, or manages to connect up all these promising dots.
first of all APOLOGIES for the lack of updates, I’m spending my summer at my summer house where my internet connection is based on a mobile modem, which is crap.
As you all know Two Days, One Night will premiere worldwide on August 22nd. Here’s an article about Marion’s career and character (Edith Piaf)
When Marion Cotillard took on Edith Piaf she lived the part, willing herself into the role of a tortured genius. Such commitment is harder now that she has a toddler. But, as Stephanie Rafanelli discovers, that doesn’t stop her trying
In a hotel suite in Paris, Marion Cotillard is behaving like a monster. We are about to start our interview when her three-year-old sprints in with his nanny, and before I have a chance to ask my first question, Cotillard has leapt on all fours and is skidding across the carpet letting out strangled roars. There’s a chase in which she plays Godzilla (upright, with claws), and Marcel, her son with French actor and director Guillaume Canet, squeals with delight. Finally she resumes her position on the sofa with Marcel still chuckling impishly under one arm. “He’ll get bored soon,” she reassures me.
Cross-legged and clad in tweed hot pants, she looks like a particularly soignée teenaged mother: her face has never lost its adolescent curves and her body barely looks 20 years old (she’s in fact 38). When Cotillard bent herself into the prematurely aged Edith Piaf in La Vie En Rose, a morphine-addicted, cancer-ridden husk of a woman, Trevor Nunn called it “one of the greatest performances on film ever”. Meeting her, you appreciate why.
Marion is attending the Paris Fashion Week, some pics have been added to the gallery
Public Appearances > 2014 > a href=”http://marioncotillardfan.net/photos/thumbnails.php?album=772″>July 06 2014: Paris Eiffel Jumping Presented By Gucci – Day 3
Public Appearances > 2014 > July 07: Paris Fashion Week – Christian Dior
Marion Cotillard gets it right – magically so – with Phoenix in ‘Immigrant’
Like anyone foolish enough, brave enough, or passionate enough to pursue acting as a career, Marion Cotillard has made her share of unremarkable, if not remarkably bad, films. But when the French star, who won the Academy Award for her unearthly reincarnation of Edith Piaf in “La Vie en Rose,” gets it right, the result is magic. Her Piaf, wide-eyed and woeful, was that. So was the whale trainer she played in the harrowing and heartbreaking “Rust and Bone,” a story of from-the-pits-of-despair resilience.
In the title role of James Gray’s “The Immigrant,” as Ewa, a destitute Pole who arrives in New York City on a fog-shrouded January day in 1921 in search of the American Dream, she once again astounds. In this fascinating, half-crazy endeavor, Cotillard’s Ewa is plucked from the deportation line – the immigration officers at Ellis Island have deemed her a woman of “low morals,” and are sending her back from whence she came. Her savior is one Bruno Weiss, who tells her he’s from Travelers Aid and hands the guard a few bills to facilitate Ewa’s hasty transfer to a Manhattan-bound boat.
I’m on holidays right now, and although I managed to get online, my internet connection is crap where I am, for that reason, I decided to put the site on hold until SUNDAY, JUNE 15TH
Apologies for not writing this post earlier (being the pics uploaded), I had a lot of work at my job, anyhow; Marion attended the 2014 CFDA Fashion Awards and I’ve added some HQs to the gallery.
Public Appearances > 2014 > June 02 2014: 2014 CFDA Fashion Awards