I LOST MY BODY – movie review

I LOST MY BODY (J’ai perdu mon corps)
Netflix
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Jérémy Clapin
Screenwriter: Jérémy Clapin, Guillaume Laurant, adapted from Laurant’s novel “Happy Hand”
Cast: Voices of Hakim Faris, Victoire Du Bois, Patrick D’Assumcao
Screened at: Tribeca, NYC, 10/30/19
Opens: November 15, 2019

Poster

You’ve got to hand it to Jérémy Clapin, who co-wrote and directed this remarkable movie in an adaptation from Guillaume Laurant’s novel “Happy Hand.” His handsome, animated feature could become a hands-down favorite of the Academy along with the many guilds and critics’ groups. The movie idea was presumably exploited by Clapin from the book—which has not yet been translated from the French and whose plot can be summarized by “Naoufel -dit Nafnaf-est un jeune Marocain, né de parents professeurs de littérature française, lui ayant enseigné un français de salon, un rien désuet. Lorsqu’il arrive en France, vers 12 ans…” The movie, confusing enough at first since it does not roll chronologically, becomes clear at about the mid-point.

In fact a little spoiler can’t hurt since it could clear up the film right from the beginning. So…the whole story is told from the point of view of a hand, the first original idea. Not even the 1946 pic “The Beast with Five Fingers” about a wheelchair-bound one-handed pianist’s murder, is quite like this. Naoufel (Hakim Faris), whose childhood happiness in North Africa is upended when a car crash kills his parents. Traumatized, the orphan boy tries for nothing more ambitious than being a pizza delivery guy, who is always late and who agrees with his boss that he is, more or less, a loser. But delivery boys meet lots of pizza-loving people. Naoufel lucks out, flirted with by Gabrielle (Victoire Du Bois), a resident in an apartment house, who sets him up with her uncle (Patrick D’Assumcao) in a carpentry job through which he has an accident severing his hand.

The plot is of secondary importance. The principal virtue of this French movie, complete with the artistry of a skilled animator (director Clapin), is its originality. There has been nothing quite like this one, which helped the picture win top prize in “Critics’ Week”and to become the first animated film ever to win the Nespresso Award at Cannes. You’ll wonder why the principal character is so focused on catching flies, a most difficult job according to the lad’s father (I concur), but the common housefly has a major role, in fact perhaps the most important role a fly has had in a movie since David Cronenberg’s 1986 horror tale entitled, of course, “The Fly.” The hand goes through a series of adventures, using its wisdom to play piano, riding atop a pigeon and rewarding it by snapping its neck, saving his (its?) life from a group of hand-eating rats, and exploiting the talents of a seeing-eye dog.

Losers can be winners, which makes this a feel-good picture, using the metaphor of a hand’s seeking its body to make it whole, just as the lovely Gabrielle may become the part that will complete young Naoufel. Indie films generally feature more thoughtful sounds and sights than blockbuster commercial items, but even among the indies out there this year or any other, “I Lost My Body” is a pioneer.

81 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Onli

Story – A-
Acting – B
Technical – A
Overall – B+

RUBEN BRANDT, COLLECTOR – movie review

RUBEN BRANDT, COLLECTOR
Sony Pictures Classics
Reviewed for Shockya.com & BigAppleReviews.net by: Harvey Karten
Director: Milorad Krstic
Screenwriter: Milorad Krstic, Radmila Rockov
Screened at: SONY, NYC, 1/24/19
Opens: February 15, 2019

Ruben Brandt, Collector Poster

Why do some people become optometrists? Chances are they got interested in the field because of their own need for eyeglasses. What about dentists? These are people who may have had trouble losing their baby teeth: maybe they failed to get the tooth fairy to reward them since they had nothing to give her in return. And psychotherapists? That’s easy. They’re crazy. Why else would someone become interested in the field? Ruben Brandt is just one of the crazies serving to shrink heads when his own head needs to be whittled down to a more compact size. How do we know? He has nightmares, but not just any dreams about the boogie man hiding under the bed, but dreams in full, vivid color, with enough violence to satisfy Steven King, John Carpenter and Wes Craven combined. Ruben Brandt, analyzing himself, decides that to end nightmares that plague him nightly, he would have to steal thirteen works of great art. Why so? The subjects of these painting are attacking him without mercy. The best—or worst—of the nightmares occur quickly after the start of the film. The title character is riding a train when suddenly, on the outside, a bizarre passenger who at first appears to be hitching a ride without paying is instead intent on sinking her teeth into the therapist. Who could it be? No other than the not-so-innocent Infanta Margarita, blood pouring from her head, obsessed with gaining entrance into Ruben’s cabin to do nasty things.

Putting aside thoughts of suicide, Ruben gathers four of his patients, people already experienced with larceny and worse, bidding them to steal paintings not just from the Guggenheim but requiring them to travel the world snatching canvases from the Louvre, the Uffizi, the Tate, our own MoMA and others. The entire film thematically lauds Picasso, so we see characters along the way with three eyes, one with two heads like the Roman god Janus, but featuring one woman, Mimi, with a soft, sexy voice who when not driving her Mercedes is a gifted gymnast. How are the paintings stolen? In some cases the foursome simply enter a hall, cut the canvas from the frame, wrap it up, and its Rubens’. In one case Mimi shoots an arrow to pierce the apple on the head of a modern William Tell. When the arrow lands on a canvas, she uses the point to encircle the painting and wraps it up. Simple enough especially if you’re a cartoon character.

Once the police determine that the paintings could not be fenced or sold because they are too well known, they decide that the thief is a collector, one with the combined name of Rubens and Rembrandt (Ruben Brandt; get it?) Rewards are posted. When the amount goes to $100 million for the lucky guy who provides information leading to his arrest, the underworld is brought into the fray. At the same time Kowalski, a private eye, sets out on the mission, appearing ultimately in the final scene as a reflection in the window of the train that Ruben is riding.

Considering the work that went into both the hand-drawn and the computer animated, you might expect the movie to be slow-moving, allowing the artists who designed the film to have a job that would allow them to see their families at night. But no: this is as fast-paced as a James Bond picture, featuring in several scenes a Mercedes Benz going at full speed down French city streets to evade equally fast-moving cars determined to block its path. Similarly the characters talk fast, act quickly, and show purpose, though the narrative itself is difficult to follow. That’s how rapidly the story unfolds.

Co-writer and director Kristic, a 66-year-old visual artist working in Hungary, had a crew of 150 animation pros, knocking out this visual candy for just $4.25 million—with support of the Hungarian National Film Fund. Believing that story, graphics, animation, music and sound are equally important, Kristic senses when the music is not right, a shot should be longer or shorter, the camera angle should be at the right height, close-ups should be extreme. This film took him six and one-half years to complete. He asks audiences to give his work their undivided attention for just ninety-five minutes, and, I might add, given how reasonable the time demands are on the audience, this feature deserves not two but multiple viewings to assimilate the various scenes.

We’ve come a long way from Bugs Bunny, Elmer Fudd, Daffy, Mickey, Minnie, Tom, Jerry and Woody, who animated the memories of those of us who have been around for half a century.

95 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – N/R
Technical – A
Overall – B+