Pascale Vignal Movies

In real life, filmmaker Simon Reggiani's father, Serge Reggiani, was a desperately ill elderly alcoholic and also a renowned singer and cinematic leading man (mostly in France). In an effort to sustain his father's interest in life, he cast him in the central role in a biographical pseudo-documentary. In the story, Simon convinces his father to join him on a journey to Italy, where he can meet the man who can ease the guilt he has carried for almost seventy years; he believes he was responsible for the death of his infant brother. Reviewers indicate that Serge's performance was extraordinarily magnetic and skillful. Furthermore, the caring son reported that the film served its purpose of keeping his father lively and interested in life; indeed, he has gone on to take major roles in several more films. ~ Clarke Fountain, All Movie Guide

The grim post-World War I era in Europe is grist for director Bertrand Tavernier's mill in Life and Nothing But. Philipe Noiret portrays a French major who is supervising the gruesome task of counting and identifying the corpses still strewn over the battlefield. Noiret is obsessed with the notion that, by doing his job above and beyond the call of duty, he can somehow make up for the carnage in which he participated a few years earlier. The major's mission is intercut with short vignettes involving the families and loved ones of the dead, and with the efforts by another officer to find a suitable candidate for an Unknown Soldier testimonial. ~ Hal Erickson, All Movie Guide

French stage actor Louis Ducreux makes his film debut as a 76-year-old traditionalist painter, Monsieur Ladmiral, in this bittersweet portrait of a brooding artist. A widower, Ladmiral lives on an estate in the countryside near Paris with only his housekeeper, Mercedes (Monique Chaumette), and his paintings to keep him company. The action of the film takes place on a bright autumn Sunday in the early 1900s when Ladmiral's son, Gonzague (Michel Aumont), and Gonzague's wife, Marie-Therèse (Geneviève Mnich), come out from Paris with their three children to visit the old man. While making small talk with Gonzague, Ladmiral hints ever so subtly that his son has become too bourgeois, too conformist, too accepting of the status quo. Apparently, Ladmiral doesn't want his son to face what he is facing: self-recrimination for failing to take risks, failing to go beyond the bounds of tradition. Outdoors, the couple's two boys are only too eager to risk and dare. At one moment, they try to set fire to an insect and, failing, have the audacity to ask for a magnifying glass to do the job. Their father, Gonzague, disapproves, of course, but Ladmiral pronounces his blessing on the project, and he authorizes them to use his glass. No doubt, the old man hopes they survive childhood with their gumption and gall intact -- like Irène. Irène is Ladmiral's other child -- a vivacious, free-spirited beauty who speaks her mind and follows her whims. She is everything that Gonzague is not. Later, she drives her Papa to a dancehall. There, he tells her about his ruminations -- that maybe he should have experimented with impressionism. After examining his current project, he considers whether to make a decision, one that may change nothing -- or perhaps everything. ~ Mike Cummings, All Movie Guide