Annette (2021)
Some experiences you’re prepared for but sadly fall victim to higher than high expectations. I had just watched Edgar Wright’s joyful documentary, The Sparks Brothers and felt like I knew what I was in for with Annette, a story which the composers came up with themselves. A couple of short music videos and trailers hinted at something vivacious and thrilling or perhaps I was projecting that image in my head. Added to that, I was a fan of director Carax’s previous work that came out nine years ago, Holy Motors. Maybe not to the same level as everyone else around that time but given that my favorite moment in that film involves music, I could see this director excelling at a feature-length musical. However, to quote film critic Mike D’Angelo in his review for Carax’s Mauvais Sang, “Carax is a genius in short bursts, and hence not really cut out for feature-length narratives.” I’m sad to report that I mostly agree with this statement since I didn’t fall in love with Annette the way I was hoping for. Though to be fair, I’ll watch Adam Driver do anything. Including this kind of unusual mashup of Marriage Story and Dancer In The Dark, sans the emotional wallop of either. Even as it ends, it’s a film that almost is asking the audience not to love it??
The film also set up expectations within the first ten minutes. I felt a sense of euphoria right at the start as we see the band themselves begin to perform in a recording studio eventually venturing out into the streets singing with joy. Loved every single frame of the way this film begins. That was my 2021 moment of “movies are back” only to slowly but surely feel strikingly different than I had during the prelude. The film breaks out into a rather cumbersome relationship portrayal which then evolves more into a surrealistic A Star Is Born complete with commentary on fame, exploitation and envy. A famous opera singer (Marion Cotillard) is deeply in love with a wild and brash comedian named Henry who goes by the stage name “Ape of God”' (Adam Driver). Henry is a vitriolic stand-up comic who has found success through an utter disdain for his profession and audience. There’s no denying the pleasures of watching Driver unleash his inner Diceman but two full sets of his routine kills the pace a bit. I think equal time devoted to both parties in this relationship would’ve been welcome but the main focus is on the self-destructive, sociopathic behavior of Henry especially once some serious grief and jealousy kicks into high gear.
This is also a film that is hard to write about without giving away some of its bizarre touches throughout. Once we are immersed into the world of this couple, there are definite moments that feel alive in ways that few movies can achieve. But then there are low lows as the character descends into madness and melancholy. Sadly, Cotillard is given very little to do and it was hard to get involved with a rather joyless critique of toxic celebrity culture and self-absorbed, misplaced masculinity. Maybe I was hoping for something more and that’s not the film’s fault. Wasn’t really expecting a consistent upbeat tone but the film felt weirdly oppressive and off-kilter as it goes on, in a way that seemed less enchanting and more disconnected especially the way it is paced. Though It’s fascinating that the beauty and awe of the song “We Love Each Other So Much” begins to shift as time moves forward and transgressions are made. There is unabashed joy at the intimacy portrayed early on while the couple is in bed singing the refrain. The arrival of a newborn child is certainly a fascinating choice that I was happy to be on board with, but once there’s a turn in the narrative about halfway through, I felt like I was lost at sea only to never find my way back to the shore again. In its final moments though, I realized that I wish I had felt far more invested in Henry’s narrative. That’s not to take away, however, from the fact that the reason to see is for another stellar performance from the consistently great Adam Driver, who nails nearly every scene in every way even if he’s pretty much just a dick and nothing more complex. I am slightly recommending this picture merely just to watch him be as good as he’s ever been in anything.
Annette proves to be a deeply flawed picture that still has many dazzling moments to recommend it. I guess it’s unfortunate that I ended up mixed and in the middle after such a strong start and a rather unexpected final sequence. The film mainly serves as another showcase for Driver (who also produced the film), and his caustic, car crash of a portrayal of Henry is something we can’t help but find compelling. I just wish I cared about his struggles along the way. A final sequence between Driver and young actress Devyn McDowell, who can’t be more than five or six here, is also a highlight but there’s a lot in-between that left me feeling a bit cold, including some of the musical numbers which felt half-baked instead of fully realized. Granted, I’m still a newbie in the world of Sparks and their plethora of material that’s out in the world but aside from a few key tracks, I didn’t walk out with many melodies glued to my memory banks. That being said, true blue Sparks fans should rejoice that this film was even conceived and now available to see on a big screen or in the comfort of your own home. Carax may just not be my jam though I still have a couple of blind spots to fill. As for Annette, I wouldn’t be surprised if it becomes another cult classic but I just wish I had smiled, laughed and found the whole experience engaging rather than mildly disappointing in the end. Maybe a musical built around Sparks’ compositions of the past would have been interesting or as I told a friend recently, maybe having them do their take on Phantom of the Paradise with Adam Driver is exactly what I would want to see in my lifetime at least.
