★ 7 / 10
It's one thing knowing the history of his
CinemaSerf
It's one thing knowing the history of his famous song "Je t'aime" - it's quite another when you see the lyric displayed before you by way of a subtitle! No…
It's one thing knowing the history of his famous song "Je t'aime" - it's quite another when you see the lyric displayed before you by way of a subtitle! No wonder it was banned - and no wonder he, and his publisher, knew exactly what buttons to press amongst the prudish establishment to maximise the success and publicity is would attain. That success is somewhat down the line, though, for the eponymous character (Eric Elmosnino) who lived his relatively short life to the full. He was in his teens when the Nazis occupied Paris and those experiences were to set a template for the future of this strong-willed Jewish lad who, at that stage, just wanted to be a painter. Oddly enough, he owed much of his survival throughout that period to an SS officer and after the war he jumped ship to become more of a stage performer. Sometimes quite comically, but usually impactfully, his decisions are all egged-on by his own, personal, full-sized demon whom we all see gradually guide him down the path of carpe diem. His unique style of music is curiously successful, sometimes despite itself - but his personality ensures that his private life is anything but. His relationships start out as impassioned affairs, but never prove sustainable for long before he is looking for his next affaire d'amour. Elmosnino is on top form delivering this entertaining caricature of a chain-smoker full of joie de vivre and excess - except where it came to his parents, the last vestige of some sort of anchor for his otherwise boundary-less existence. The presentation is almost fantastic, we see him live what purports to be reality whilst also visualising the goings on in his mind - a lively, vibrant and eccentric place; and though director Joann Sfar acknowledges the roles of Jane Birkin (Lucy Gordon) and Brigitte Bardot (an effective Laetitia Casta) in his life, they don't overwhelm the underlying depiction of a charismatic, flawed and intriguing individual who really only thought of his own satisfaction throughout his adult life.
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★ 8 / 10
Serge Gainsbourg. The Man. The Myth. The Legend?
the_rattlesnake25
Lucien 'Serge Gainsbourg' Ginsburg. Artist. Writer. Performer. Alcoholic. Smoker. Rebel. Womanizer. Genius? Joann Sfar's film documents the sporadic lifestyle…
Lucien 'Serge Gainsbourg' Ginsburg. Artist. Writer. Performer. Alcoholic. Smoker. Rebel. Womanizer. Genius? Joann Sfar's film documents the sporadic lifestyle of the famous French artist Serge Gainsbourg (Eric Elmosnino), whose life contained no boundaries, no objects off limit, and continually tested the patience of those huddled together around him. Beginning with a young Gainsbourg developing his taste for painting aspiring models in Nazi-Occupied France as a mere teenager, the film thereupon concentrates primarily upon his relationships with various beautiful women and his life choices in regards to his ever-changing occupation over his sixty-year-life-span.
What makes this film work so well as a biopic is the truly ingenious performances by both Kacey Mottet Klein (Young Gainsbourg) and Eric Elmosnino (Adult Gainsbourg) who both somewhat beautifully represent such a tragic figure throughout his whole on-screen lifetime. Kacey portrays Gainsbourg as a boy who is maturing faster than those other children around him, so far so, that he explains to one of the schoolchildren the reason that he is good at drawing pubic hairs is because he has had an up-close and personal experience with them before. While he is also shown to be a lonely child, an outcast as Jewish child growing up in Nazi-Occupied France, and thus he develops an affable 'imaginary friend' to keep himself company. Born as small, soft head that watches over young Gainsbourg as he sleeps in the woods to avoid the Nazi soldiers, his only friend soon becomes his worst enemy as he matures into a complicated man. His once pleasant 'imaginary friend' is now a grotesque being with a large nose, long-thin fingers and an affection for cigarettes and bullying Gainsbourg. He continually berates insults, prods and engages Serge, providing the viewpoint that he himself was his harshest critic, and a critic he could not simply dismiss without entire control over his life.
Aside from the performances, the way Sfar allows the films narrative to flow in a temporal manner with no mention of time, or calendar dates, further draws the audience in to Gainsbourg's contrived world. The only way to tell when an event shifts forward in his lifetime, is through his own physical deterioration from old age which is heavily dictated by his excessive abuse of alcohol and tobacco. But as Gainsbourg becomes older, his sexual conquests stay the same age; from Elisabeth (Deborah Grall), to Jane (the late Lucy Gordon), and to an affair with the insatiable Brigitte Bardot (Laetitia Casta), before he eventually settles down with Bambou (Mylene Jampanoi), who would be his final partner. These are all young, vulnerable women who Gainsbourg exploits for his own sexual misgivings, and once they become too old, or too boring, he discards them like a child throwing away an old toy to badger his parents for a new, more expensive model.
Joann Sfar beautifully flowing biopic paints Serge Gainsbourg as a shallow, misogynistic, grumpy old man, who once had dreams of becoming famous for doing anything, but once those dreams were realised, greed and narcissism triumphed over his once forgotten ambitions. Utilizing his gift for writing, artistry and music Gainsbourg chose the route of controversy and scandal over that of happiness and family, which is exemplified in his response to the media after he had a heart attack. When the reporters asked what he will be doing now after such a dangerous and life threatening operation, Gainsbourg calmly asserted to those in attendance that he will "continue to smoke many more cigarettes and drink much more alcohol."
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6.9/10
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