'Delicacy' a French delight
<b>Reel Life review: "Delicacy"</b>
The delightful "Amelie" star Audrey Tautou continues to delight us in this unassuming modest French romance titled "Delicacy."
It's the kind of humorous romance that could easily become a broad, hilarious comedy of errors.
But directors David Foenkinos and Stephane Foenkinos restrain the urge to go broad. Instead, they underplay humor and emotions to create a sweet, subtle story attesting to Cher's pop song about believing in love after love.
After three years of marital bliss with her perfect mate, Nathalie (Tautou) abruptly becomes a joyless, workaholic widow for a Swedish firm in Paris, France.
One day, she impulsively kisses a Swede co-worker named Markus (French comedian Francois Damiens), a slow, lumbering tree trunk who becomes enchanted with Nathalie; except she doesn't remember the kiss or Markus.
"Delicacy" plays with genre clichés and adds a few touches I've never seen before. (France's workplace rules on harassment and office romances are definitely more liberal than in the U.S.)
Everything leads to a quiet finale in which a man contemplates what a woman has been through, and knows exactly what to do because he has taken the time to know her.
Yep, it's very French.
"Delicacy" opens at the Century Centre in Chicago and the Renaissance Place in Highland Park. In French with English subtitles. Rated PG-13. 108 minutes. ★ ★ ★
<b>Reel Life review: "October Baby"</b>
Movies with the most powerful Christian themes ("Warrior," "Groundhog Day" and "Joyeux Noel" come to mind) are those that illustrate lessons in forgiveness, empathy and compassion without too much discussion.
"October Baby" - the feature debut of codirecting brothers Andrew Erwin and Jon Erwin - pulls way back on the jack-hammered sermonizing usually associated with co-called Christian "message" movies and pulls off a sincere, well-produced road film about a young woman's search for truth.
When college student Hannah (a personable Rachel Hendrix) discovers that she's not only adopted, but a survivor of an abortion attempt, she and childhood best bud Jason (West Chicago native Jason Burkey) take a road trip with friends to find her birth mother and get answers.
There are no gut-wrenching conflicts here or car chases. Just an unassuming, conservatively crafted drama that could easily be a Lifetime Channel movie if it had an obligatory male villain.
Only near the end does the film's hand get heavy when Dad (TV's "Dukes of Hazzard" star John Schneider) patches up issues of trust with Hannah, whose mother inexplicably falls out of the picture.
"October Baby" opens at area theaters. Rated PG-13 for "thematic elements." 105 minutes. ★ ★
<b>Stop it, Dann! Stop it!</b>
Dann: I wonder if you and I watched the same "John Carter" movie. Do you not like an old-fashioned adventure story? Because that is the feel of "John Carter." When I watched this movie, it reminded me of "Raiders of the Lost Ark." (Admittedly, it isn't quite as perfect as "Raiders.")
One other note. Please stop writing your never-ending mantra of "white guys saving the minorities is bad" when the white guy is the hero. Every time I see you write this, I automatically add half a star to your review, as it is such a prevalent topic in your columns and how you despise it.
Next time I see a four-armed, 10-foot green Thark, I'll apologize to it for John Carter saving their species. Sometimes an adventure movie is just an adventure movie. Not everything is a political statement. Lighten up a little. - Jeff of Lombard
Dear Jeff of Lombard: If you truly believe that not everything is a political statement, then let's take a look at what Aristotle thought on the issue.
When the famous philosopher laid down the six fundamental building blocks of Western drama in his book "Poetics" (around 335 B.C.), he made sure that one of them was the "thought" or "theme." (The others are plot, character, spectacle, music and diction.)
In fairy tales, we call this "the moral to the story," the lesson to be learned. In other words, the political point the story makes.
Every conventional narrative movie tells a story, and every good story embraces a theme. An adventure movie, Jeff, is never just an adventure movie. That would be like saying "Star Wars" is just a science-fiction fantasy film.
All three of the first "Star Wars" films illustrate the same moral to the story: "Faith in your friends is the most important and powerful force in the universe."
It is that message - not the special effects - that resonates with every new generation of fans, for it reinforces the adolescent conviction within us all that our friends matter more than anything else.
"Do you not like an old-fashioned adventure story?" you ask. My answer is: only a well-made, old-fashioned adventure story.
Life is too short to waste affections on old-fashioned adventure debris such as "Jake Speed," "Journey 2: The Mysterious Island" and, yes, even Andrew Stanton's expensive nice try, "John Carter," utterly lacking the sense of wonder and awe that good science-fiction films should possess.
I'll make you a deal, Jeff. I'll stop rehashing my "never-ending mantra of white guys saving minorities" when Hollywood stops mass-producing movies that glorify superior white characters rescuing weak and inferior nonwhite characters.
As a white male, I should be flattered these condescending movies portray my white brethren as strong and noble heroes. But when I put myself in the shoes of a minority character, bam! I start thinking, "Hey, how come minorities can't be the main characters in their own stories?"
Wouldn't Denzel Washington's tormented former slave in "Glory" have been a much stronger protagonist than Matthew Broderick's milquetoast white Army colonel?
For the record, I do not "despise" movies preaching the white savior premise. (I have given positive reviews to "The Blind Spot," "Avatar," "Dances With Wolves" and others.)
Incidentally, Jeff, you sent me a fine (and lengthy) review of "John Carter" from a fan's perspective, and everyone can read it as a related article attached to this column.
You concluded it with, "I wish we received more movies like this ..."
I wish we received more movies like "Raiders of the Lost Ark."
By the way, you can catch that 1981 classic on the silver screen at midnight, Friday, March 30, at the refurbished Tivoli Theater, 5021 Highland Ave., Downers Grove. Tickets cost $5. More than 2,000 Classic Cinemas patrons voted "Raiders" as the film they most wanted to see on the big screen.
I guarantee you, Jeff, that 31 years from now Classic Cinemas patrons will NOT be demanding to see "John Carter." Check with me in 2043 and I'll prove it. - Dann
<b>Oh, no. Not again.</b>
Warner Bros.' 1992 white savior hit "The Bodyguard' returns to theaters Wednesday, March 28, at selected locale theaters the day after its 20th anniversary edition Blu-ray hits the street.
Kevin Costner stars as Mick Jackson, a white security expert hired to protect a black singer (the late Whitney Houston in her movie debut) from a psycho fan.
Not only is Mick superior to the singer's incompetent black bodyguards - he easily subdues them when they test his abilities - Mick must teach her black chauffeur how to properly drive a limo. When it comes to romancing a real man, who do you think the singer picks?
Go to fathom.com for details about seeing this very entertaining, condescending romance/thriller.
<b>Geneva film fest is 5!</b>
The Geneva Film Festival celebrates its fifth anniversary from Thursday through Saturday, March 29-31, with all films presented at the State Street Dance Studio, 319½ W. State St., Geneva. Weekend passes for screenings and workshops cost $10; screenings cost $3. Go to genevafilmfestival.org.
<b>After Hours' 'Le Havre'</b>
The After Hours Film Society presents Aki Kaurismaki's "Le Havre" at 7:30 p.m. Monday, March 26, at the Tivoli Theater, 5021 Highland Ave., Downers Grove. Tickets cost $9 ($5 for members). Go to afterhoursfilmsociety.com.
<i> Daily Herald film critic Dann Gire's column runs Fridays in Time out!</i>