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Jon Robin Baitz
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The story involves the Isaacs, a group of theater actors inhabiting a country home in Westchester County, New York. Present are patriarch George "Grisha" Isaacs (Jack Heller), his wife ... See full summary »
Cannes, 1999. Alice, an actress, wants to direct an indie picture. Kaz, a talkative (and maybe bogus) deal maker, promises $3 million if she'll use Millie, an aging French star. But, Rick, a big producer, needs Millie for a small part in a fall movie or he loses his star, Tom Hanks. Is Kaz for real? Can Rick sweet-talk Alice and sabotage Kaz to keep Millie from taking that deal? Millie consults with Victor, her ex, about which picture to make, Rick needs money, an ingenue named Blue is discovered, Kaz hits on Victor's new love, and Rick's factotum connects with Blue. Knives go in various backs. Wheels spin. Which deals - and pairings - will be consummated? Written by
the backstage of Cannes, where a real passion lives
One of my most favourite movies, I recommend it to everyone, especially is you want to make a movie yourself, so that you could get an impression of the heart of the entertainment world, it's backstage. A very smart and passionate film, acting is delicate and fine (all the cast acts well, and it's hard to find the best actor, but I'd like to mention Maximilian Schell here, his part is really dainty, I admire him every time I watch this), the characters are interesting, and the plot, too. I can't think of any weak points. Cannes are picturesque, what I'd like to outline is the songs - beautiful french chanson - Charles Trenet, Edit Piaf. Very nice songs. Henry Jaglom proves to be a subtle artist and a keen observer. Delicate is maybe the key word to describe the film. It's very light and graceful, though it deals with the trivia of life. A little bit of tear, a bit of smile, a bit of romance, some coolness and some passion - these controversial points meet and emerge into each other thus making the film delicate and graceful.
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