Alarming Report on French Films
Saturday, March 29th, 2008French cinema. The jewel in the crown of an otherwise lacklustre post-war French culture. Godard, Truffaut, Rohmer, Resnais, Bresson, Malle – even early Lelouche – in the 1960’s and early 1970’s nothing else sold France as well as its cinema. As far as the rest of the world was concerned French painting died in 1954 with Matisse; exportable French fiction never recovered after the 1950’s; with too few notable exceptions French theatre never rivalled London or New York and no one beyond the hexagon was much interested in the music of Francoise Hardy or Johnny Halliday, let alone Messiaen or Boulez – but French cinema…..there was something we (meaning Western Europe and North America because in those days that was the World) could get truly excited over! One of its many qualities was that the best of the New Wave was a continuation of the Golden Age of French cinema of the 1930’s and ‘40’s: there was a thread that seemed to constitute a national culture. But now, according to the Club of 13 , a group of some of France’s best film professionals, French cinema is in deep danger of losing its identity and they have written a 190-page book to explain how to get it back to the forefront of world culture.
The book will be published in mid-April, I have not read it, but journalists on both Mediapart and Rue89 have. What these journalists say about it is fascinating because it seems to speak not only for the French cinema industry but for the recovery of France in general – and it fills me with despair.
I should perhaps explain that the root reason I am in France at all is probably because of its cinema. When I was 2 my father, a film director, came to Paris to work for a couple of years, so my earliest memories are an unformed jumble of France and its film business. Later I discovered and became passionate about the films of the directors quoted above and spent many happy years making films that sought, modestly, to emulate them – in particular their understanding of human nature. But by the end of the 1980’s I realised that kind of personal cinema was over and I should move on: film-making was already dominated by television accountants, not by individuals but by faceless committees, and the only thing worse than a committee was an international committee – that is an international co-production. So reading extracts of this 190-page liturgy of woes makes me wonder where the authors have been for the past 25-30 years. Are French film-makers really so totally cocooned from the winds that shape our world?
The Club de 13 was created in February 2007 when a director, Pascale Ferran won several national awards for her film “Lady Chatterley”. Instead of the usual lovey-gush associated with these events she grabbed the microphone and, knowing she was on live TV, made an impassioned plea to save what she calls “les films du milieu” – films that try to combine a certain artistic integrity with popular appeal.
An ad-hoc group formed around her, not of film-buffs and theoreticians but experienced professionals including distributors, exhibitors and exporters. So far so good. But the result of their labour is disappointing: “We continue to live with the idea that cinema is both an art and an industry (the power of Malraux’s thinking) whereas it has become essentially a business. The present commercialisation of the cinema comes from….the substitution of the producer’s power by that of the broadcaster – television on one side and distribution conglomerates on the other.” But that was true 30 years ago, to repeat it today as if it were a blinding new insight is extraordinary.
According to Rue89 the report reveals “the terrible and perverse mechanism [mega-bucks and TV] which leads to uniformity [of ideas, scripts and casting]. Inevitable consequence: the quality of films being presented to the public has deteriorated….” According to the authors the evil TV is responsible for this uniformity and dumbing-down: on the one hand there are enormous budgets given to ultra-predictable films, on the other minimal finance for films which cannot break in to the main circuits and are thus “ghettoised”. In between, too few of the films Mme Ferran advocates – the very diverse middle films, ambitious but with popular appeal of which only 19 were made in 2006 against 49 in 2004.
None of that is wrong, but neither is it new. What the authors of the report do not seem to have understood is that times have changed, the world has moved on. In little more than a single life-time cinema has moved from silent black and white with piano accompaniment, to talkies, to wide-screen Technicolor with Dolby sound, back down to TV, through VHS to DVD and now the internet. From 35mm to 70mm, down to 16mm then on to beta tape and now silicon chip. It evolves constantly, as do the public’s tastes. And will continue to do so – just look how the internet has upset (destroyed) the “traditional” music business. Yet, Mediapart says, nowhere do the authors of the report address the future, nowhere do they even mention digital technology. From what is quoted it seems they are stuck in the glory of the New Wave of 40 years ago, of independent individuals making bold decisions rather like independent publishers or art galleries.
For that reason the report is perhaps an echo of the wider phenomenon of whether or not France as a whole can change. Evolution means letting some things go, however much nostalgia clings to them. As a generalisation it seems the French may find that particularly difficult. But what worked 50 years ago almost certainly will not work now, just as the capitalisme à la francaise which created the 30 glorieuses cannot work today. The important thing is to address now.
The Club de 13 appears to believe that the way out of this situation, the way back to the past so that the “descendants of Truffaut, Demy or Resnais can give birth to their projects”, is by more rules, regulations and increased government hand-outs. That may be simplifying, but it seems to be what is being suggested: doubling the government pre-production grant (currently about half a million euro per film) and providing support finance to the originator of the idea (with the demand that 7.5% of this finance go to the writer, 25% to any distributor who invests in the project without a TV company…..). In short the Club de 13 seem to want to lessen the risk in what has always been a high-risk business. Cinema is exciting at every level (including the audience level) precisely because it is a high-risk business. While seed money is certainly vital, give films too much protection and you are guaranteed boredom. Cinema is not about making the films you want to make but second-guessing what films you believe, you hope, you pray people will pay to see.

