(7) Exposed to the light, the monk's inner demons and the phantasms of his dreams would no longer seem quite as frightening or threatening. (5) every phantasm of a hope was quickly nullified (6) At stake is the consciousness of art as a simulating surface, a phantasmic veil of illusory life and presence that seeks to displace historical and physical reality rather than merely represent it. (3) the cart seemed to glide like a terrible phantasm (4) Six was a phantom - a ghost, a ghoul, a phantasm, a hallucination, a side effect of Stray's medicine, some unknown effect of acid, something of that sort. (2) They thought He was a ghost, a phantasm, an apparition, a spirit, anything except their Master. The post ANNETTE Is a Phantasmic, Nightmarish Rock Opera Gone Awry appeared first on Nerdist.(1) ├ö├ç├┐It was only a terrible phantasm trying to take root in my imagination,├ö├ç├û he reassured himself. I’m anxious to see if it ages into cult status, or if its bland conceit cements it to the past. Maybe in time Annette will find its audience and make it to the midnight rounds where it belongs. We just needed a little bit more of that darkness. It has an underlying creepiness that keeps it from being unwatchable. There is a phantasmic, nightmarish quality to the film that is vaguely reminiscent of Holy Motors. Carax, who co-wrote the script with the Sparks brothers, seems out of his element here.
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Ultimately, Annette feels a little too much like its eponymous character: occasionally melodic, full of potential, but rather wooden underneath.
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He and Driver have some fun vocal banter that again harkens back to something Webber-esque, like Raoul and the Phantom barbing over Christine. Helberg is a welcome reprieve to some of Driver’s madness, as an opera conductor with a secret love for Ann. It’s a lot of singing and neither have the vocal talent to really pull it off. (Although she does get to haunt the stage as a sea witch every now and then, which is rad.) Driver gives a loud and manic performance and is great at doing so, but it’s nothing new from him. Marion Cotillard and Adam Driver look to the sky in a still from Annette.Ĭotillard is barely around enough to register. (Even if it is all too reminiscent of real life.) There’s even a #MeToo subplot that appears out of nowhere and dissipates just as quickly, which feels tasteless.
Unfortunately, it’s more interested in flagellating the male ego than giving into its beautiful excess. There are times that Annette goes hammy and big-certain moments reminded me of The Phantom of the Opera-and that is when it’s best. Famous man meets famous woman who becomes more famous and he eventually self-destructs. There’s nothing in Annette we haven’t seen in every version of A Star is Born. It’s an attempt to be clever that rings a little hollow, like all the film’s ideas about celebrity. She’s a wooden marionette, her physical appearance recalling the prop that she is. When she’s still just a toddler, Henry realizes she has a mesmerizing singing voice and exploits her talent for stardom.Īnnette doesn’t look like your average child. The two eventually produce a child named Annette. We’re meant to sympathize with Ann, but Cotillard gets so little to do that she becomes, instead, emblematic of what the film means to criticize. He fears commitment and drinks to the point of rage, while she withers on the sidelines in uncertainty. Ann is soft and delicate and Henry is bold and brutal. And it’s hard to tell just yet what that even means.Įxpectedly, their love affair is a ticking time bomb. Overall, Annette amounts to a befuddling experience. Is Annette knowingly camp or just desperately trying to be? Regardless, the story is so paper thin and unoriginal that it makes the moments of nightmarish elegance feel like accidents. But it also comes with a major hindrance to cult status: that pesky prestige factor. It’s just as badly sung and brazenly weird. Someday, it might have the appeal of something like The Rocky Horror Picture Show. For now, at least.īecause here’s the thing, Annette has all the trappings of a madcap midnight movie. Annette is beautiful to look at, but a bit of a sore to sit through. Unfortunately, these disparate elements create a bit of a ruckus together.
And Sparks-the American rock duo comprised of brothers Ron and Russell Mael-are enjoying a renaissance of sorts thanks to Edgar Wright’s new documentary The Sparks Brothers. Driver and Cotillard are two of the best actors of their generation, both known for daring, inquisitive work. Carax, the brilliant mind behind French films like Boy Meets Girl and Holy Motors, is a one-of-a-kind talent. A Leos Carax fantasy rock opera starring Adam Driver and Marion Cotillard with original music by Sparks sounds like a dream on paper.
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