Adidas and Dependencies: Gérard Blain As Director

Translation: Éric Volmeer

It is very common among film scholars and critics to search for undiscovered cinema-territory. Those hidden secrets of cinema. Films no one has heard of, lost films by certain directors or whole film cultures that were ignored by former writers.The aspect of discovery has something romantic about it and it is tied closely to the cinephile curiosity. It is about seeing more and seeing different. Someone travels to a far away country (today often online) to see things flying under the radar. This might not only make the traveller an expert, it will give him job opportunities. It shows again that Film History (with a big H, naturally) is a history of films never seen.

Nevertheless it comes as a surprise when the cinema of a quite well known actor like Gérard Blain (a darling of the Nouvelle Vague, acting in short films by Truffaut and Godard, in Chabrol‘s Le Beau Serge and Les Cousins, in Un homme de trop for Costa-Gavras and even Hatari! for Howard Hawks) from a country like France is almost invisible abroad. How those disappearances come into place is out of my understanding. Especially when one happens to find out that Blain‘s films easily rank among the more interesting works French cinema has produced. And that means a lot. But whose responsibility is it to discover? Today almost any viewer has the possibility to search for unknown cinema. But we also live in an age where there are too many things flying around disguised as cinema when in reality there is too little cinema. Someone telling us what is worth seeing and what is not is always searched for. The pain comes from knowing how decisions are/have to be made in selections and programming. Something unheard of is always a danger as people just love to see what they know already. This does not mean that it is not important to show what one might call a “canon“ but it is also important to have some spare room for the secrets of cinema. But what am I complaining about blessed by my living and working in Vienna?

OEFM_Enfant-dans-la-foule_-Un_low

© Österreichisches Filmmuseum

Here it is possible to discover something unknown right in front of your door. The Austrian Film Museum recently featured five of Blain‘s nine films in a retrospective that was dedicated to the outsiders of French Cinema in the 1970s and 1980s: Pialat, Eustache and Blain. It was a pleasure to see the institution fighting for his cinema by organizing a press screening of his debut Les Amis and programming four of his five films during one weekend. Despite all possibilities it seems that the modern cinephile still needs that kind of promotion.

But now, who is Blain? Of course, we cannot tell. But we could see his films. His cinema often deals with personal experiences and memories of childhood and past. The most obvious formal influence seems to be Robert Bresson but this leads to wrong expectations. Of course, Blain like Bresson is very interested in the concept of minimalism. He tries to show only what is absolutely necessary. A good example for this can be found in the stunning beginning of Le Pélican. We see the birth of a son, his father, the child sleeps, grows up, just images like a dream, the moments father and son spend together in a zoo, in a tram for children. In retrospective we recognize these moments as a memory of harmony. Blain who plays the father himself really loves in those scenes with his actual son(s). But the filmmaker never strips down his images like Bresson did. He is more interested in the personal aspects of cinema which makes him a perfect combination with Eustache and Pialat. He will always choose the emotion before the image, his perception before form. There are some strong and some weak points about this, in general it creates an individual point-of-view and this rare feeling of having a human being behind (and in the case of Blain also before) the camera. Nevertheless sometimes it seems strange that we encounter with Blain a quasi formalistic approach that is ready at any second to throw itself overboard in favor of a certain scene or an emotion that the filmmaker wants to stress. A good example for such a lack of consequence can be found at the end of Le rebelle when Blain cannot stop cutting to the crying face of the abandonned sister of the protagonist. Unlike Bresson tenderness is not a question between the images, it is an obvious answer in them. Due to that it is not really Bresson who Blain is in relation with, it is Truffaut. That might seem strange in the beginning but thinking about it I came to realize that both directors are not only concerned with visions from the past, a strong faith in humanity, insecurities, moments where cinema and memories merge, but they also are both obsessed with the beauty and cruelty of dependencies.

OEFM_Rebelle_-Le_low

© Österreichisches Filmmuseum

Blain‘s characters struggle for freedom but their way to achieve it always brings them into situations in which they depend on the lust and money of other people. In Les Amis it is 16-year old Paul who struggles and who meets Philippe, an elderly business man who offers him in unbearable ambivalences a friendship and a little bit more. Paul like his namesake in Un enfant dans la foule goes for it but soon he will fall in love with a girl. The opposite is true for an amazing Patrick Norbert in Le rebelle. He denies the much more obvious seduction of money and does not prostitute himself so easily. But this leads to other problems. It is clear that in relationships like that lies a metaphorical potential for many injustices of the world, including what Blain, who always thought of himself as an outsider, must have encountered when making cinema. But those patrons have always something vulnerable and honest about them which makes their egoism and desire even more dangerous. Especially since Blain shows both sides in his filmography: The seducer and the seduced. What is a violent abduction from one perspective might be desperate love from the other perspective. Age difference and deformed tenderness play a huge role in Blain‘s cinema. We often see people kiss or embrace and freezing in a Fassbinder-like pose. Suddenly movement stops and something seems wrong. It is too close, too long, too wanted. But the wrongness is not a question of a calculated crime, it is one of human weakness. In Un second souffle Blain turns around the dependency and focuses on an aging man (played by Robert Stack who grew up part of his life in Paris and spoke fluently French, therefore acted in several French films) and his fight to stay young. He takes himself a much younger girlfriend and Blain does not shy away from irritating our gaze as sometimes we take his lover for his possible daughter. The naturalness of this kind of relationship presented in Fin août, début septembre by Olivier Assayas gets an existentialist alienation with Blain. Among those who visited the screenings of Blain I seem to hold an exclusive opinion on this, but for me Un second souffle is the best of the five films. Part of this owes to the amazing camera work of Emmanuel Machuel (who worked with Bresson, Pialat and Mr. Costa among others). Machuel also photographed stunningly Un enfant dans la foule and Le rebelle but in Un second souffle the way he connects movement with expectation and finally disappointment is on top of his game. The film opens and closes with the character of Stack running through the streets, a park and a forest. The camera travels with him and pans as he moves towards or away from us. In the beginning we see someone who comes out of the forest, there is a time he takes, a way he looks, an insecurity, a hunger whereas the almost same images in the end carry death and discouragement but also acceptance. It is a huge quality of Machuel to keep the right distance, one that makes us feel the movement of the camera as something that takes power, tenderness and time as opposed to many of those camera movements nowadays which more or less fly through the air. The emotions of this camera movement mirror in the protagonist. Stack‘s attempts to become young again carry the kind of hypocritical embarrassment we know from a filmmaker like Pialat. But there is an honesty about it that keeps us and the films moving. In a vibrantly delivered scene Stack talks to his younger girlfriend about another boy her age she knows. They lie in bed together, it is something uncomfortable but nobody would want to leave. There is sexual dependency and a constant impotence that forces the protagonists of Blain to stay viewers and listeners.

un-second-souffle

In Le Pélican a very long sequence just observes the family life the protagonist will never have again, in Un second souffle the protagonist observes the naked body he will never have like he wants to, in Un enfant dans la foule the young child looks at a photo of his mother he will never see like this again. Music gets repeated, records played and even a Jacques Tati-like music player gets used in Le Pélican. People disappear in Blain‘s films and they leave a gap. Blain makes us feel this gap with music or with a neutral observation. Even if a body still exists something other might disappear in the body. Sometimes the protagonists try to ignore other people and sometimes they try to remember them. Both attempts fail.

Maybe we should not talk about a search for freedom, but a search for belonging in Blain. In another of this stunning traveling/pan shots by Machuel the young boy in Un enfant dans la foule moves past other boys of his age playing in the background. There is a loneliness that becomes a togetherness in cinema. In Blain‘s cinema there is a quest for belonging, finding something or someone one can relate to. In this regard the ending of Un enfant dans la foule is the most touching, most personal and most honest finding of such a belonging. Naturally it arrives, as in Blain‘s real life, more or less as a coincidence. What the young boy in the streets of Paris during World War II finds, is cinema. He goes out to be an extra in Marcel Carnés Les enfants du paradis. The love his mother is not able to give him he might get from cinema. Outside on his way he meets a  pedestrian who asks him for a fire to light his cigarette. This pedestrian is Gérard Blain and his physical existence in such a scene says it all. What we see is someone brave enough to film what he sees or has seen himself. Blain was an extra himself before Julien Duvivier discovered him for Voici Les Temps Des Assassins.

OEFM_Pelican_-Le_low

© Österreichisches Filmmuseum

One could write a lot more about Blain but for now we have to stick with a last observation concerning the beauty of adidas-tracksuits employed by Blain‘s films. Yes, that‘s right. Adidas is even thanked for in the beginning of Robert Stack‘s-Wes-Anderson-would-just-love-it-and-make-him-a-Tenenbaum fashion-show during Un second souffle and I found many other incidents where characters were wearing old school adidas stuff. First it seemed rather unfitting for a self-proclaimed outsider to have deals with capitalism itself but on the other hand this way of clothing just perfectly talks with the way his protagonist and his films are: There is a certain style we can easily recognize but underneath is something different, something that needs this style, that is dependent on it. You feel younger, you feel like belonging when you look like it. By stressing clothing in such a colorful way Blain brings it in our conscience. He shows that there is a lie behind it, but also a necessity. The cruelty and beauty of dependency, the pain and joy of prostitution, the appearance of love in disappearance. The cinema of Blain brings up the painful subject of not being able to live like we want. Thus it lives.

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  206. I will products this examine towards 2 types of people in america: present-day Zune home owners who are looking at an improve, and us residents seeking towards decide among a Zune and an iPod. (There are other players worth thinking about out there, including the Sony Walkman X, nonetheless I expect this gives your self ample data in direction of deliver an conscious option of the Zune vs players other than the iPod line as nicely.)

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  210. I will devices this examine in the direction of 2 designs of us residents: existing Zune house owners who are taking into consideration an up grade, and people in america striving toward come to a decision in between a Zune and an iPod. (There are other avid gamers worthy of taking into consideration out there, which includes the Sony Walkman X, however I be expecting this gives by yourself adequate data in direction of produce an informed determination of the Zune vs avid gamers other than the iPod line as properly.)

  211. My programmer is trying to persuade me to move to .net from PHP. I have always disliked the idea because of the costs. But he’s tryiong none the less. I’ve been using Movable-type on several websites for about a year and am anxious about switching to another platform. I have heard great things about blogengine.net. Is there a way I can import all my wordpress content into it? Any help would be greatly appreciated!

  212. I was curious if you ever considered changing the page layout of your site? Its very well written; I love what youve got to say. But maybe you could a little more in the way of content so people could connect with it better. Youve got an awful lot of text for only having one or 2 images. Maybe you could space it out better?

  213. An fascinating dialogue is value comment. I feel that it is best to write more on this topic, it won’t be a taboo topic but typically people are not sufficient to speak on such topics. To the next. Cheers

  214. Amongst me and my spouse we have owned even more MP3 players higher than the decades than I can rely, together with Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so on. But, the remaining pair a long time I have resolved down towards a single line of avid gamers. Why? Simply because I was pleased in the direction of uncover how well-designed and fun in the direction of hire the underappreciated (and broadly mocked) Zunes are.

  215. There are definitely numerous details like that to take into consideration. That could be a great level to carry up. I supply the ideas above as common inspiration however clearly there are questions just like the one you deliver up the place crucial factor will probably be working in sincere good faith. I don?t know if best practices have emerged round issues like that, however I am sure that your job is clearly recognized as a fair game. Each girls and boys feel the influence of just a moment’s pleasure, for the rest of their lives.

  216. If you might be however upon the fence: get your favored earphones, mind down toward a Ideal Buy and talk to in direction of plug them into a Zune then an iPod and perspective which one sounds better to you, and which interface helps make you smile far more. Then you’ll know which is specifically for oneself.

  217. Hello there, You have done an excellent job. I will certainly digg it and personally suggest to my friends. I’m confident they will be benefited from this website.

  218. Its such as you learn my mind! You seem to know a lot approximately this, like you wrote the guide in it or something. I feel that you can do with some p.c. to force the message house a bit, however other than that, that is fantastic blog. A fantastic read. I will certainly be back.

  219. It is appropriate time to make some plans for the future and it’s time to be happy. I’ve read this post and if I could I desire to suggest you few interesting things or tips. Perhaps you could write next articles referring to this article. I want to read even more things about it!

  220. Apple previously incorporates Rhapsody as an app, which is a Terrific get started, nevertheless it is by now hampered by means of the incapacity in direction of keep domestically upon your iPod, and contains a dismal 64kbps bit rate. If this improvements, then it will rather negate this convenience for the Zune, however the Ten tunes for every thirty day period will nonetheless be a huge in addition within Zune Pass‘ favor.

  221. Its like you learn my thoughts! You appear to understand a lot about this, such as you wrote the ebook in it or something. I think that you just can do with some percent to drive the message house a little bit, however other than that, this is wonderful blog. A great read. I’ll definitely be back.

  222. Good site! I really love how it is simple on my eyes and the data are well written. I am wondering how I could be notified when a new post has been made. I have subscribed to your feed which must do the trick! Have a great day!

  223. I’ll devices this assessment toward 2 styles of people in america: current Zune home owners who are thinking about an upgrade, and persons striving in direction of decide amongst a Zune and an iPod. (There are other gamers value contemplating out there, together with the Sony Walkman X, nevertheless I anticipate this features yourself sufficient data in direction of produce an informed determination of the Zune vs players other than the iPod line as effectively.)

  224. You could definitely see your enthusiasm in the work you write. The arena hopes for even more passionate writers like you who are not afraid to mention how they believe. Always follow your heart.

  225. I’ve been surfing online more than three hours today, yet I never found any interesting article like yours. It is pretty worth enough for me. In my opinion, if all webmasters and bloggers made good content as you did, the net will be a lot more useful than ever before.

  226. I will tools this critique towards Two layouts of us residents: present Zune householders who are thinking about an update, and human beings hoping toward make a decision amongst a Zune and an iPod. (There are other gamers well worth looking at out there, which include the Sony Walkman X, nonetheless I be expecting this provides yourself more than enough facts in the direction of generate an mindful option of the Zune vs avid gamers other than the iPod line as perfectly.)

  227. If you happen to be nevertheless upon the fence: get your most loved earphones, intellect down in the direction of a Suitable Invest in and inquire toward plug them into a Zune then an iPod and view which just one seems improved in direction of oneself, and which interface helps make by yourself smile much more. Then you can realize which is straight for yourself.

  228. You can definitely see your expertise in the work you write. The world hopes for more passionate writers like you who are not afraid to say how they believe. Always follow your heart.

  229. Excellent read, I just passed this onto a friend who was doing some research on that. And he actually bought me lunch because I found it for him smile So let me rephrase that: Thank you for lunch!

  230. wonderful post, very informative. I wonder why the other specialists of this sector don’t notice this. You should continue your writing. I’m sure, you have a huge readers‘ base already!

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