NYFF: The sad, strange, incomplete "French Exit"
Monday, October 12, 2020 at 9:40PM by Nathaniel R
Frances Price, the soon to be impoverished widow at the center of French Exit alarms everyone around her and puts them on edge. She will just not cooperate. Neither will Michelle Pfeiffer, the actress playing her, for that matter. Rather than dance around it, let's just state the conundrum up front. When you're watching your favourite actor star in a potential comeback role based on a book you've grown deeply fond of and have already visualized as a movie in your head, the conflicts between expectations and reality and dreams can be impossible to mediate. And disconcerting, too. You've got to watch the movie for the movie but also work through your own external actress-related issues while doing so.
I obsess over Michelle Pfeiffer, okay?! There's no avoiding it and little point not foregrounding it in this review. Complete strangers know this about me...
Herein lies the catch of loving an actor who rarely works. Every single movie becomes utterly fraught with expectations. It can't just be a hit or miss, like any random project from any busy actor is allowed to be, it has to be 'the one!' because you know she'll vanish again for another three years (apart from tiny roles) as she's done regularly for the past 17 years. All of this is a long way of confessing that I love Michelle Pfeiffer so much that she gives me anxiety when I'm watching her.
It was Frances' shrug that first unnerved me. Near the beginning of French Exit, which wisely cuts right to the chase, she's listening to a financial advisor tell her she's toast. ALL the money is gone. She shrugs and repeats. Shrugs and repeats. The shrug is deeply offputting in its impenetrable defeatism. This woman can't and won't hear any more but Pfeiffer's avoidance is closer to helpless nihilism than the profligate defiance I pictured from Frances while reading. The dissonance alarmed me.
And yet my own reaction, however personal, might well be closer to a general audience's reaction than I would have expected. For Frances is a deeply aggravating woman. She will not bend to society's expectations or your whims or needs, whether or not they're reasonable. And, worse, she'll never question her own, no matter how strange, hypocritical, or destructive. And so Frances and her zombie-like son Malcolm (Lucas Hedges, also much different than any read of the novel) quietly sell everything they have for cash and head off to Paris with their cat Small Frank in tow (he's named after Frances' dead husband). Malcolm and Small Frank blindly follow Frances but Frances move with true unwavering intent; She never plans to return.
Though Patrick deWitt's screenplay, based on his own novel, moves swiftly and is appropriately merciless with itself -- he drops large chunks of the already slim novel as casually as Frances dispenses with big stacks of the only money she has left -- it's hard not to long for some of what's missing. The character of Madeline the psychic (ubiquitous Danielle Macdonald) for example is mostly lost in the transfer as is cool Frances' atypically warm relationship with her best friend Joan (Susan Coyne). One particularly strange choice DeWitt makes is to drop Frances's most prominent verbal tic in the book, a conversation-stopping "that's right" whenever she's questioned as if everyone around her is exceptionally stupid and didn't understand her the first time.
Pfeiffer, always an expert at both ice queens and mordant comedy, plays Frances much warmer than I was expecting which is... a choice I'm eager to revisit to understand. Hedges also makes definitive choices, and though the character is more loveable in this new form, he's simplified. Most of the cast has good fun with their roles but the best among them by a significant margin is the delightful Valerie Mahaffey as the Prices' needy neighbor Mademoiselle Reynard, a British widow living in Paris who is eager to befriend the infamous Frances. The problem is that Frances isn't the sort of woman who is interest in "friendship" or fans. When Frances and Malcolm first visit Reynard, Malcolm makes a startling discovery in her apartment. I shan't spoil the surprise but let's just say that Mahaffey pitches her character comedy so perfectly that you absolutely believe the joke.
The performances, especially Pfeiffer's, will be fun to investigate on a second viewing for their odd turns and possible layers, once those pesky novel-to-film expectations have dissipated, but will the movie itself? I fear not.
French Exit is the kind of film that becomes more and more enjoyable as it goes -- the first half is sluggish but the momentum is real in the second half as things get increasingly odd. Your patience is rewarded. But the large and intractable problem with Azazel Jacobs' adaptation of French Exit lies in its creative modesty. The specifics of the downward spiral plot paired so amusingly with its comically multiplying cast of looney-tunes characters all jammed into one Parisian apart, remain riveting from novel form despite the changes. Sadly, the filmmaking never matches the material, perpetually lagging behind.
Director Azazel Jacobs is good with actors (see also his debut feature The Lovers) but is either unwilling or unable to join the eccentric wavelength of the pitch the material demands. The crafts are competent but perfunctory but this story begs for visual treatment with an actual point of view. Either embrace the morbidity of Frances' fatalism or the farce of the clown-car like apartment, or the contradictions of the material wherein a mother and son behave as if they're still unfathomably wealthy when they're actually living in scarcity. But don't just stand by haplessly while all of that is happening! One solution -- loathe as I am to ever normally suggest it for adaptations-- might have been narration. In this case there's a ready made unexpectedly perfect narrator in Small Frank, who could have effectively retained some of the novel's rich character insights while keeping the tricky tone of mordant fatalism and matter-of-fact comedy more consistent. Why shouldn't a cat serve as deadpan guide, as they're already perfectly inscrutable observers.
Even the two séance scenes in French Exit are played straight and thus feel non-committal, avoiding comedy even though comedy of the ridiculous needn't exclude reality. Only the score, lightly comical but moody, exhibits a personality fit to play with the memorable characters.
Still French Exit is not without considerable redeeming merits. In addition to Pfeiffer's intricate performance, two particular shots from the last act linger in a beautiful way, softer in their sentiment than expected but somehow true to the darker resolutions of the book. In the second séeance sequence Frances abruptly blows out the candles ending the scene with a depressing cut-to-black severity. Séances are generally reserved for reviving the dead but even in this tradition French Exit, like its maddening widow, won't cooperate. Pfeiffer blows out the candles with such fury and abruptnesses it's like she's more eager to cause death than work around it. Later in a magical shot of empty Parisian streets we watch Frances walking away from us, receding. It's not remotely abrupt but the finality stings.
Azazel Jacobs, Lucas Hedges and Michelle Pfeiffer discussing the film with the New York Film Festival over Zoom
Grade: B/B-
Oscar Chances: As much as we'd hoped for Pfeiffer to finally win her long overdue Oscar, French Exit is probably a long shot to accomplish that since it's both eccentric and modestly conceived. But, nevertheless, Sony Pictures Classics will surely mount a worthy campaign even if Best Actress is competitive. Otherwise it's tough to imagine much awards love outside of Pfeiffer's entertaining star turn, even for Mahaffey, as much of a scene-stealer as she is.
Reader Comments (38)
Sad.
hopefully she can love field her way to a nomination; after twenty-eight [!] years that'll be a victory in itself
Don't be that negative! I'm pretty sure that despite the pandemic she'll do a lot of press and campaigning as she usually does ;)
Well, If ever there were a year for lack of quality performances this would be the year! She has that going for her, she could easily sneak in!
This film has gotten such polarizing reviews, that a win for Pfeiffer seems unlikely. However, all the reviews have positive things to say about her performance, so hopefully she can still snag a nomination,
Maybe this will be Carey Mulligan’s year, since Focus is going all in on her campaign and her film is quite buzzy.
So what I'm getting from this review is... don't read the book before seeing the movie. Got it!
Not having read the book, I thought the film seemed like a pale imitation of a number of recent classics (the director name-checked Phantom Thread and The Favourite in his NYFF interview, but it's obvious he was influneced by Stillman, Baumbach and Wes Anderson as well). I agree that it needed more directorial elan. I did think Pfeiffer was excellent, though, probably a top 5 performance this year.
I haven't read the book, but I felt it was a movie (and a bunch of actors) desperately awaiting a director's guidance. There were odd pauses, bad takes, awkward tonal shifts between lines, the occasional slight smirk from an actor who knew a "funny" line was coming up next, and an overall sense that this film thought that it was the next cult classic. I was entertained at times by the ridiculousness of certain scenes, but as a whole it seemed like a mildly curious mess.
Maybe it will achieve that cult status after all-- the people who love it seem to really love it-- but I do wonder whether people are responding to the promise of the film rather than the execution.
The reviews are really all over the place, some people are absolutely loving it. It seems to be a film of two halves, with some reviewers responding better to the first half, and some preferring the second half.
Everyone seems to agree though that this is a real star turn from our beloved Pfeiffer.
Renee, Julianne & Meryl Have all won Oscars recently for movies with luke warm to bad reviews. Sadly I don’t think this is Michelle’s year to win, but it feels like a career ‘beloved veteran’ nomination is feasible.
Also, if this was a Meryl Streep in the part, she’d pretty much be a lock by now.
JWB -- that is absolutely true!
Such diverging reviews for this out there... several calling this a lock for a nomination, potentially a win! If nothing else, this has made me more curious to check the movie out when it becomes available in the UK.
Sounds like you were very wedded to the book and to Pfeiffer and unable to reconcile the different take on the book and interpretation of the character in your head/heart?
Thoughtful review as always :)
That's too bad. I feel worse for Nathaniel than I do for Pfeiffer, who clearly doesn't care anymore at this stage. She's out of my Oscar predictions.
Lots of actresses have received nods for bad films Meryl even won a third for one of her worst films,I wouldn't count out Michelle,she's committed to this film so she will want more than likely to support it,I hope a 2nd viewing without all the baggage you saw it with first time will clarify your judgement.
I laughed out loud with that comedy line about watching Pfeiffer gives you anxiety,I get that with Sigourney Weaver,I just want her to nail every part every time.
I think your being too hard on this film and should consider her performance once again. She fabulous and deserves every accolade coming her way. This was a risky performance and deserves more credit. Oscar!!
I think this is Viola's year. She's a Jessica Lange - best actress material that wins first in supporting but will win in leading as soon as it is possible.
I fear Pfeiffer is another Deborah Kerr...
Do we really need to see Lucas Hedges in EVERY indie? Plus I hate his new hair.
This is such a well written review. As someone who has not familiarity with the book, I'm excited to see this now to see if my take on the film is different. I love Pfeiffer and think she is captivating on screen. Even if this isn't the one to get her back into the nominee circle, I do hope it is a bigger picture than Where is Kyra? (which she was sublime in), and can start getting her more into the conversation for her next picture.
Very happy to hear about Mahaffey. I think of her as an expert guest star, so great that she gets a nice part in a film.
This is only the second review I have read, and the first one was a rave (Deadline). So, now I don't know what to think, though I will surely see it in some form once it becomes available. I don't think I've seen Valarie Mahaffey since 30something, or was it Sisters or something like that?
@ Nat... I am really sorry this movie and Michelle's performance did not move you. I know how much you care about her as an actress/.
@ Dave in Hollywood
She’s excellent on Dead to Me.
Well, Meryl, Julianne and Renee won for VERY BAITY characters. Two of them were very well known real life persons.
If Pfeiffer also has that kind of role one day, she might win. I can see it happening.
Poor Nathaniel. Obsessions never end in happiness. Just ask /3rtful who is still obsessed with his life-long favorite, the incomparable Meryl Streep.
So sad to see this not receive the critical acclaim I’d hoped it would get. I considered Michelle as the number 5 slot for this. It’s “Cheri” all over again. And I still adore her in “Love Field,” and will forever view that role as my favorite.
Looking forward to this simply to see Pfeiffer in a larger role outside of the tent poles she seems to be stuck in these days. Even if I didn’t love the movie, I thought Where is Kyra? proved she can carry a vehicle. These days I’m very out of the loop regarding what is even in the awards conversation because of world events, so I’m in no position to comment whether she’s a long shot or not. Given she still only has three nominations (two of which aren’t even her very best performances IMO) I’d guess it’s unlikely. But given that up until the pandemic she’s been much more present and prolific, hopefully she can keep the ball rolling in terms of work.
Lots of actresses have received nods for bad films Meryl even won a third for one of her worst films
How many of these for films like "French Exit"? Oscar baits and melodramas, sure but as sardonic comedies with some unlikeable people (especially females)? People had forgotten what happened with "Destroyer" last year but almost every year pass with the TFE darlings.
I think if michelle at least gets critics praise and some award nominations ill be happy. Some of her reviews have been raves even though the film is patchy as a whole. She probably read the screenplay and thought this is a meaty part. Variety and vanity fair have given her praise.
Performances like meryl streep in one true thing and music of the heart aren't anything groundbreaking and she got nominated.
As has been said some actresses win for the performance and not the film around them when it doesn't equal their access star power. Sandra bullock the blind side, julienne Moore still alice, Jessica lange blue sky. meryl streep the iron lady.
I think I am pleased she's working...7 films including wizard of lies in 5 years is good going for her. I'm happy she's got raves despite the mixed film reviews.
Don't count Michelle Pfeiffer out just yet. I really do think Pfeiffer is a lock for a nomination.
Why do people think the Best Actress category will be stacked with performances from Netflix films? Viola Davis will get a nomination, but that might be it from Netflix. There's no greatness in Vanessa Kirby's performance after the 30-minute opening. Amy Adams' film is polarizing due to the politics of the book's author.
That leaves Pfeiffer, Frances McDormand, and Davis as locks. Kate Winslet, Carey Mulligan, and others will vie for the fourth and fifth slots.
Leon -- what do you mean by this I'm not following "but almost every year pass with the TFE darlings."
Clare -- i definitely think she's still in the running for a nomination. I think people have miscontrued my mixed feelings on the film with thinking she's toast or that i didn't like the performance (i very much did. it just wasn't what I was expecting from her) or that she won't be nominated. I think she still has a good shot. It will all depend on whether or not Hollywood is in the mood to honor her and whether or not she does a lot of promotion (which is kind of rare for her)
and you're absolutely correct. It's not going to be an all Netflix lineup. No studio/distributor ever hogs 100% of an acting category. Netflix has three obvious contenders: DAVIS, LOREN, KIRBY and a few more like STREEP or PELLMAN (The Prom), ADAMS (Hillbilly - confirmed to be going lead), and longshots like BUCKLEY (i'm thinking of eending things) and probably someone else too. That's * a lot* of contenders in one category. I suppose it's possible that they'll land 60% of the category but I think it's more likely they'll get 1 or 2 of the 5 slots... people always forget that Netflix is just one of the distributors. There's also Neon, SPC, Universal, paramount, Searchlight, Bleecker Street... all with contenders and some of those companies are good at campaigning and some of those women are well-loved.
I was awaiting your review Nathaniel as I had read wildly opposite takes. Somehow, I am getting why it is so polarizing based on what you've written. It sort of happened to me with "We need to talk about Kevin", a book I adored page by page and that when it was announced it was to become a film with my favorite actor as the lead, I almost fainted. It was such the anxiety to see Swinton not meet my expectations that I skipped seeing the film altogether because I knew in my head already existed the better film.
So this is disappointing. I also count myself as a Pfeiffan (has anyone used that term? Is it horrible?) I really want her to have a knockout performance in an outstanding film. Oh gaddess, please.
In awards-related talk, I just finished watching the trailer for Hillbilly Elegy and, my oh my, I think both Close and Adams will be nominated. And if one of them is not coming out with an Oscar next year, then they're damned. Both look terrific and I'm usually an Adams agnostic.
Also, hello all. I haven't commented here in like forever. This year really turned my life over and as for many, it has been filled with bird poop. But I'm happy that TFE is still pumping great articles and that you, Nathaniel, seem to be in good spirits and holding your fort up. Keep it up.
Jones: I thought the main character (played by several actors) came across as a bit of a cipher, but I too was impressed by both Close and especially Adams. Could it be Adams' year? We shall see.
Jones -- we just call ourselves "Pfans" ;) HAPPY TO HAVE YOU BACK.
I think Glenn close might be nominated for best supporting actress. However Amy Adams performance has received bad reviews and hillbilly elegy as a whole too. Her performance is too over the top. I like Kate winslet but not sure ammonite is a strong enough movie for Oscar noms.
The main actresses that will be nominated during award season including michelle pfeiffer will be Viola Davis, Vanessa Kirkby, Francis mcdormand, Sophia Loren. I'm not sure if Meryl streel will be nominated for the prom. I hope not they need to make room for other gifted actresses. The prom seems to light fare for Oscar award worthy.
Lots of actresses have received nods for bad films Meryl even won a third for one of her worst films
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Don't count Michelle Pfeiffer out just yet. I really do think Pfeiffer is a lock for a nomination.
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Any updates on the theatrical release? I thought they’d be adding more theaters slowly until the “wide” release in April?
Finally saw it and am happy to report that I loved it. Having read through all the mixed/negative reviews, I expected a film and performances that would be tonally odd or annoying, but for me it's the opposite. It's a very-sad-very-funny-very-touching film. Wish Pfeiffer got more recognition for it.