Farewell, Mr Haffmann
(M) 116 minutes
★★★½
The play on which this film relies, by French actor Jean-Philippe Daguerre, was first carried out in 2016 in Avignon and went on to win 4 nationwide theatre awards. In a beneficiant gesture, Daguerre then handed it to Fred Cavaye, an previous pal, to make a movie and gave him full licence to alter what he needed.
The result’s a robust film that wanders removed from the play – however not to date that we are able to’t see its origins. No serving to that: it’s the story of a Jewish man cooped up in a basement in Paris throughout the warfare, as German troops march outdoors. The claustrophobia is in-built, in that sense.
In truth, it’s not a lot the story of Joseph Haffmann, the seldom-seen jeweller performed by the legendary Daniel Auteuil, as his assistant, Francois Mercier (Gilles Lellouche). The concept is good.
Within the first act, Haffmann persuades his spouse to take their three kids to the “free zone”, hoping they’ll make it to Switzerland. He’ll comply with in just a few days. Earlier than leaving, he “sells” his store to his right-hand man Mercier – full with deed of sale – with the understanding that he’ll give it again after the warfare, when Haffmann returns. Mercier readily agrees, though his timid spouse Blanche (Sara Giraudeau) is appalled. He’s utilizing you, she says. Sure, and we’re serving to to avoid wasting his household, responds the totally respectable Mercier, who’s eager for an opportunity to shine as a jewelry designer. Haffmann comes again that night time: the escape routes are already closed. He finally ends up hiding within the cellar, as his worker turns into the brand new boss.
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If reversal of fortune have been the one thought, the movie might need failed, nevertheless it’s only the start. Cavaye’s rewrite seems on the entire notion of collaboration, a thorny topic in a rustic that not solely allowed, however assisted the deportation and homicide of just about 75,000 French Jews. The movie’s concentrated portrait of three people beneath stress leads us to surprise what we’d do on this state of affairs. The solutions are neither sentimental nor comforting for a French viewers.
Cavaye directs with sinister effectivity, cranking the discomfort, and making us squirm. The movie is in widescreen ratio and a lot of the interiors are shot handheld, which is in itself unpleasant, however Cavaye employs a refined trick. The road photographs are principally easy, the digital camera secured. It’s an efficient manner of enveloping us within the rigidity of the characters inside the home.
With this forged, it’s hardly essential to say the performances are very good. Cavaye pushes the ending too arduous, however by then, chances are you’ll be too invested within the characters to care.