This film was screened in Bradford as part of the UK’s ‘China Film Week’. Bradford was the first UNESCO ‘City of Film’ and is now linked to the similar UNESCO City of Film in Qingdao. The screening was introduced by David Wilson, Director Bradford City of Film and then by the film’s writer Li Chunli. I wasn’t sure what to expect but after watching it, I think When a Peking Family Meets an Au Pair was in some ways the right choice, but in other ways an unfortunate choice.
Ms Li told us that this was a ‘family film’. It was advertised as a comedy and it came across as a family melodrama with a strong comedy element. I’m not sure why a film from 2014 should be chosen, but the film’s theme is certainly contemporary and, perhaps surprisingly, it is shared with Jia Zhang-ke’s Mountains May Depart (China-Japan-France 2015) and has a long history going back to Clara Law’s Farewell China (HK 1990) and earlier. I’m referring to the aspiration of many middle-class Chinese families to emigrate to the ‘West’ for various reasons – and in particular to think about taking their children (or more likely ‘child’) with them to receive a ‘good’ education. This desire has been caught by Qin (Xu Fan), who after fifteen years of marriage to Su (Chen Jianbin), decides that she must prepare to get a job abroad and that her small daughter Pipi (Chen Yinuo) would benefit from the presence of an au pair who speaks English – help with Pipi is also needed because both parents work long hours. Interviewing candidates from around the world she selects Natalie (Gianina Arana), a bubbly young woman from Colombia who speaks good English and passable Mandarin. The problems begin soon after Natalie arrives.
Pipi is being brought up like a little ‘princess’ who is only allowed out in taxis, never public transport. She has organic fruit and her soup is filtered to remove fish bones – and so on. Natalie is a free spirit who likes to play with children and to ‘set them free’. Qin is a make-up artist for film and TV. Her husband (who often sides with Natalie) earns less than his wife as a producer of traditional Peking Opera. Together their salaries can barely pay for the extravagant style of Pipi’s upbringing. It gets worse when Qin signs on with an agency that promises to find her a job abroad (for a substantial fee). At one point Qi meets an old friend who is briefly home after migrating and who tells Qin of the stress she suffers.
The comedy comes from the clash between Qin and Natalie and their ideas about how to raise children – and the mayhem that Pipi is capable of creating as a result. Dad remains in the background but the marriage is clearly suffering and this provides the drama alongside some of the dangerous consequences of the au pair situation. As Natalie points out, if Pipi is always wrapped in cotton wool, she won’t be able to survive in the real world outside. Shu does however chide Natalie at times, pointing out that there are reasons why Chinese families do things that she doesn’t understand. Natalie is a ‘typed’ foreign character and mainstream Chinese films suffer from this kind of typing in the same way as Hollywood and European films. It’s useful, I think, that UK audiences are able to reflect on this. As well as the migration issue, the film picks up on other topical issues like the traffic jams in Beijing, but overall this is the tourist view of affluent China which says little about the rest of the country. It also demonstrates how Chinese comedy films exaggerate awkward situations to develop broad comedy potential with forms of slapstick. I didn’t notice any reference to Natalie’s racial difference but she is typed as being materialistic and individualistic in her approach to life – wanting to be the richest and most successful. Qin acts as if she wants to be the same but recognises that this might be unacceptable. There is an interesting set of questions about ideology here.
But while the content of the film may be a useful insight into aspects of the lives of the Beijing middle classes, the presentation of the film might be more of a shock for UK audiences. I’m familiar with DVDs of Chinese and Hong Kong films and the practice of subtitling in English and Simplified Chinese and I’m used to subtitling generally. But in this case, the very rapid cutting between characters speaking quickly was at first difficult to follow. Overall, the editing in the film seemed to struggle to hold the narrative together. This is odd because as far as I can see the film’s editor, Zhou Xinxia, is the only really experienced head of department in a crew working with an inexperienced director and writer. Perhaps it is the use of music which underlines all of this. Every scene is scored to underline the changes of mood from comedy to romance to drama. The non-diegetic music is relentless and the abrupt changes of musical style are jarring. I’m afraid that the film doesn’t represent the high quality of much of the mainstream (and arthouse) cinema produced in China today. Perhaps the industry has just grown too quickly? We were told that the film featured many well-known Chinese star actors. As far as I can see, most of them are in minor roles. The exception is the lead pair Xu Fan and Chen Jianbin as the parents in the family. Xu Fan has a thankless role as the mother but I found the father to be the most interesting character. Chen Jianbin once featured in Jia Zhang-khe’s 24 City (China-Japan-France 2008). When a Peking Family Meets an Au Pair has shown twice now in the UK and I found another screening advertised in Belgium. I’m assuming that the Chinese cultural agencies have sanctioned these screenings for the China Film Office whereas an independent Chinese film would not have been deemed suitable. (Ironically the music recording in the film was listed as being carried out in Singapore and Taiwan.) We might at least have been offered a Feng Xiaogang film (in which Xu Fan has played leading roles in the past) or something from another mainstream director of standing. Still, I’m glad I attended the free screening and I hope for good things from the Bradford-Qingdao partnership.
Here’s the Chinese trailer (no English subs):
For my state of mind and my tired brain, I was relieved that my first day of three at the London Film Festival ended with a Danish comedy drama starring one of my favourite actors, Søren Malling. This was a ‘Scope picture presented on the big screen at Curzon 1 Mayfair with an appreciative Thursday night crowd who enjoyed what is a major Danish production. This UK screening came just a week after the official release in Denmark. The Q&A with director Henrik Ruben Genz was equally entertaining and I’m sorry I had to leave before it was over.
The Word of God is an adaptation of a Danish bestseller from 2004 written by Jens Blendstrup, the youngest ‘son of God’ in what is an autobiographical novel. ‘God’ is Uffe (Søren Malling) a familiar character in a number of narratives. In 1986, around the time of the Chernobyl disaster, Uffe’s traditional parenting methods are being called into question. His eldest son has left home and reversed all his father’s teachings, becoming a God-fearing Christian in what in the UK might be called a ‘happy-clappy’ evangelical community by non-believers. Second son Thomas has convinced himself that he has agoraphobia and can’t leave the house and Jens, the youngest is a 14 year-old ‘genius’ poet/writer. Swedish mother and wife Gerd Lillian (Lisa Nilsson) tries to keep this lot together. Uffe has a simple strategy to deal with both joy and despair – he makes ‘Army soup’ from his younger days, a ferocious concoction of unpeeled onions stewed in concentrated soup stock and schnapps. In his professional life he runs a psychotherapy group that convinces its members to abandon medical drugs and instead to progress with groupwork interaction (and copious amounts of beer and cigarettes). Beer is referred to as ‘vegetables’ (i.e. to accompany the soup). The ‘narrative disruption’ is double-headed when Uffe’s eldest returns to announce his marriage and Uffe himself discovers that he has developed potentially terminal cancer – and that he doesn’t want to accept new chemical treatments. In times of stress, as well as making his soup, Uffe retires to his ‘Arabic corner’ and smokes a shisha or hookah. When he discovers that Jens is a writer he unearths his typewriter from the ‘Swedish chest’ that Gerd Lillian brought as a her dowry and attempts to write his autobiography, inspired by Jens’ success writing morbid poetry. The narrative question becomes ‘can the family stay together and resolve their issues’?
I enjoyed The Word of God very much. It is funny and it is also quite moving, because of the performances I think. Lisa Nilsson is very good in a difficult role as the mother and the family rings true. Watching it I was reminded of two films for different reasons. The plot is very similar to that of East is East (1999), a British film which was very successful but which disturbed me greatly because of its representation of a Pakistani father and mixed-race children. It was also an autobiographical story – about a mixed race family in Salford in the 1970s. I found The Word of God to be less offensive and generally quite ‘humanist’ in its acceptance of characters (though some might argue about the wedding scene involving Uffe and his son’s Christian community). A more recent Nordic story which has less in common, apart from a seemingly anti-social lead male character, would be A Man Called Ove (Sweden 2015). Uffe is completely ‘unreconstructed’ but he does the right thing by his ‘patients’. He’s less successful with his children – though I think he always means to be helpful. Søren Malling is a terrific actor, but I hope the paunch he developed to play the role was prosthetic. The Word of God might confirm all the typical traits of Danish life in the 1980s for some audiences (including a questionable sex scene) but I was onside throughout. I hope this film gets a release over here and many more audiences in the UK get to enjoy it.
A trailer with English subs is here: https://www.levelk.dk/films/word-of-god/4003
This is the first title in Universal’s ‘Directed by Douglas Sirk’ box-set. After an unhappy time at Columbia, Sirk signed a seven-year contract at Universal and settled down to make a couple of pictures a year for the studio. He was generally happy at Universal but he understood that it was the smallest of the major studios (smaller than Columbia – Universal and Columbia were the ‘mini-majors’ during the studio period since they didn’t own any cinemas). Consequently, most of Sirk’s productions would be superior ‘B’ productions, going against trend in the early 1950s. This meant that the stars to attract an ‘A’ budget were not available to Sirk and the use of colour was dependent on genre.
Has Anybody Seen My Gal? was Sirk’s fifth Universal picture, a family comedy with several musical numbers making it eligible for Technicolor under Universal’s policy. The film is significant because it teamed Sirk with a young Rock Hudson for the first time (it also features a brief appearance by James Dean). Hudson gets top billing in retrospect and the film also appears in a Rock Hudson box-set – but he has only a supporting role. The central focus is on the veteran actor Charles Coburn (already in his 70s) with whom Sirk had already worked (on Lured in 1947). Coburn plays an eccentric millionaire in the early 1920s who decides to bequeath his wealth to the family of the girl he loved, but didn’t marry fifty years earlier. He inveigles his way into the Blaisdell family home under an assumed name and literally ‘checks out’ the family. Satisfied that they have the makings of acceptable beneficiaries he attempts to test them by arranging for them to come into a large sum of money. This will reveal that there is a weak link in the family group leading to a crisis. Universal’s rules meant that there had to be a happy ending, but Sirk did manage to expose some of the flaws in American bourgeois society even if the ‘feelgood’ aura round the film militated against the satire.
I enjoyed this film very much. Sirk whisks us through 89 minutes with hardly a pause for breath. Small-town New York state is presented in bright colours and the costumes of the women in the ‘flapper’ era add to the visual punch. Most of the ‘creatives’ on the crew were Universal regulars whose usual commissions ranged across Westerns and Abbott and Costello movies, but they all put in good shifts for Sirk. Musical director Joseph Gershenson had a similar background but also more chances to work on bigger budget films. He would become part of Sirk’s team over several films. Henry Mancini is listed by IMDB as a ‘uncredited composer’.
The film’s title comes from the song and there are other well-known songs sung by the cast including ‘The Red, Red Robin Comes Bob, Bob Bobbing Along’. Piper Laurie at the start of her career is very good as Millicent, the Blaisdell’s older daughter and the grand-daughter of the woman the millionaire loved as a young man. Truly vivacious, Piper Laurie immediately recalls the impact of seeing Debbie Reynolds in Singin’ in the Rain for the first time. (Laurie followed Reynolds into cinemas just a few weeks later). Her younger sister in the family, played by 9 year-old Gigi Perreau, is the other standout player. She was an established child star of the period and gives a lively performance – taking Coburn’s character at face value. Sirk told Jon Halliday that he couldn’t remember much about the film – apart from meeting Rock Hudson. I think he should have been pleased to make such a fresh version of a rather formulaic story. He was helped by a sharp script by Joseph Hoffman from a story by Eleanor H. Porter (best known for the 1913 children’s novel, Pollyanna). If you want some heartwarming entertainment, this fits the bill.
The second Bill Naughton play to get a big screen adaptation a few months after Alfie, The Family Way stands up well today as a social comedy with a real heart. When it was released at the end of 1966 the film was given an X certificate (just like Alfie) but in 1970 the classification system changed and this was reduced to the then new ‘AA’ (nobody under 14) with ‘X’ increasing its age restriction from ’16’ to ’18’. In a wonderful example of the difficulties of classifying films, the current DVD has a ’15’ certificate. Personally, I think 12A would be the most sensible.
When The Family Way was released in 1966, I ignored it for two reasons, I think. First, I mistakenly thought it would be a comedy about shotgun weddings with a young man forced to marry when he got his girlfriend pregnant. I don’t know how I got this impression. Second, the film starred John Mills and his daughter Hayley. Hayley Mills was in the process of trying to change her star image from children’s/Disney roles to adult roles and I think this put me off. In addition, I was not particularly a fan of John Mills who I associated with 1950s films. Again, I was wrong on both these counts but I think it’s interesting how strong and misleading impressions are formed. I’m less sure of whether I knew that this was a Boulting Brothers’ production at the time. The twin Boultings had been making films since the late 1930s, alternating roles as writer, producer and director. Post-1945 they had shown themselves as committed to mainstream Labour Party values and in the 1950s had begun to produce a series of satires on British institutions – Private’s Progress (1956), Brothers in Law (1957), Lucky Jim (1957) – from the Kingsley Amis novel about a university lecturer – Carlton-Browne of the FO (1959) (UK diplomats) and the brave satire on industrial relations I’m Alright Jack (1959). These were all productions by the Boultings as ‘independents’ but eventually they became involved in the machinations of the public funding agency for film in the UK, the National Film Finance Corporation, and its attempts to merge and support British Lion, the independent studio facility (Shepperton) and distributor. The Family Way is a Boultings production released in the UK through British Lion. Variety suggests that the film was successful in North America with over $2 million in rentals – equivalent to a box office gross of $3-4 million. The film was also notable as offering Paul McCartney his first chance to score a film. It was photographed (in colour) by the veteran UK cinematographer Harry Waxman.
Bill Naughton had originally written the story as an ‘Armchair Theatre’ play for ITV in 1961 titled Honeymoon Postponed. In 1963 it became a stage play All in Good Time before its film adaptation (by Naughton himself). In many ways the narrative takes the form of a traditional Lancashire social comedy (often referred to as ‘North Country comedy’ and popular as a stage comedy in theatres across the North). Arthur Fitton (Hywel Bennett) is a sensitive 20 year-old who works as a cinema projectionist (we see him projecting another British Lion hit of 1966, Morgan – A Suitable Case for Treatment). The film opens on the day of his wedding to Jenny Piper (20 year-old Hayley Mills). The couple are going to spend one night in Arthur’s old room in the Fitton household and then take off on their honeymoon to ‘Majorca’ (with a ‘j’). But next day they discover that the local travel agent has done a runner with all their cash and the trip is off – they are doomed to start married life in Arthur’s old bed. The first night has not gone well – a practical joke collapsed the bed beneath them and Arthur was put off his stride. One of the great things about the film is that the script avoids too many jokes about Arthur and Jenny’s predicament. Jenny is the sweetest of girls and truly loves Arthur, but she is human too and sometimes goes out with his brother when Arthur is at work.
The Lancashire comedy has several important elements. Here we have two contrasting families. The Pipers have the ‘hard’ mother (Avril Angers) and soft, doting father (John Comer). Arthur’s father is the impossible strutting working-class gamecock played to the hilt by John Mills and the understanding mother (the best role in the film) brilliantly presented by Marjorie Rhodes. Add in Arthur’s younger motorcycle-riding brother Geoffrey played by Murray Head and it isn’t difficult to see why Arthur feels under so much pressure in his old room with his young wife. In addition, his troubles with Jenny are bound to come to the notice of all the gossiping women in the neighbourhood who still discuss local events over the garden wall, in the queue at the fish and chip shop and when they are employed as cleaners at the Town Hall.
Really, the film shouldn’t work. Beautifully shot by Waxman, most of the photography is on location – in Rochdale according to Wikipedia with some scenes in Bolton and interiors at Shepperton. There is good use of night-time streets, record shops and the cinema etc. and I especially enjoyed a motorcycle ‘scrambling event’ – a genuine Pennine pursuit that Geoffrey takes Jenny to visit. But the casting is all ‘wrong’. Mills père and fille are from the UK cinema tradition of Southern actors playing Northern types. Murray Head is also a London lad and looks as if he is in a genuine 1966 film, not a 1961 comedy. (Head would later star as the young man in the middle in Sunday, Bloody Sunday with Glenda Jackson and Peter Finch in 1971.) Hywel Bennett was born in Wales but brought up in South London and Liz Fraser is another Londoner. Most of the rest of the cast are from across the North – the Ken Loach approach to local actors with a genuine identification with the characters they play seems some way away (although Kes would come out in 1969). But it does work. These are solid, professional actors and Naughton’s script is strong.
At the centre of the narrative is John Mills’ macho father, Ezra, the scourge of the local gas works and so ‘unreconstructed’ he could be a working man from the 1930s. I was amazed to realise that Mills was only 58 at the time. He leads the drinking and the singing at the wedding and berates his son for ‘book-reading’. As a balance to Mills, Wilfred Pickles plays Jenny’s uncle Fred who works as a ‘masseur’ – and is therefore deemed to know more about anything vaguely scientific/medical (and therefore ‘what’s up’ with Arthur). Pickles doesn’t have a long list of film credits but from the 1940s onwards he was a huge ‘personality’ presenter on radio and later television. A proud Yorkshireman despite settling in Lancashire, he may well have attracted older audiences to the film. A younger version of ‘macho man’ is played by Barry Foster, Arthur’s boss in the projection box. Arthur himself is a typical Lancashire comedy type. He looks so delicate. It’s only later that we learn that all did not go swimmingly on Ezra’s honeymoon and we might wonder whether Arthur is actually related to his father (on the other hand, we’ve noted that the younger son Geoffrey seems to be from another planet altogether). Arthur may well be a kind of ‘future man’.
It’s taken me a long time to realise it, but Naughton knew what he was about and his script is about a ‘real’ family – or at least a family I can recognise. It is arguably out of date for 1966, but memory is a strange device. When I attended a wedding only a few miles away from Rochdale/Bolton in 1970 it wasn’t too different from this one. I’m just grateful that DVD gives me the chance to relive it. Perhaps it will also help younger people to learn something about the Lancashire culture of the time.
I’d like to include a short extract from the film but StudioCanal (who bought the British Lion library) won’t allow it.
I’m looking again at some French ‘comedy’ films as part of work on Cherchez Hortense. In Comme une image, the partnership of Agnès Jaoui and Jean-Pierre Bacri offers the same milieu as Cherchez Hortense with Bacri himself as a very different leading character.
Comme une image refers to Lolita, a self-conscious young woman, who is attempting to become a (classical singer). She feels herself to be overweight and unattractive and suffers low esteem because her father Étienne (Bacri), a successful publisher and writer, doesn’t give her much encouragement. (The title could also refer, in a different way, to the father who has a very high opinion of himself – and somehow persuades several others to look ‘up’ to him.) Lolita’s singing teacher Sylvia (Jaoui) is more understanding and through her partner Pierre, also a writer, she meets the publisher. Lolita has a boyfriend who turns out to be interested in her only as a means of getting an introduction to her father. Meanwhile she accidentally meets Sébastien, a young North African-French trainee journalist who she in turn treats badly, though he seems to genuinely care for her. Finally, Karine is Etienne’s new, young and pretty wife, with whom he has a small daughter, step-sister to Lolita. Karine also struggles to maintain her esteem in the face of Etienne’s sarcasm and cruel wit.
‘Comme une image’ is also the title of the novel written by Pierre who becomes drawn into Etienne’s circle. The narrative actually follows the creative projects of Lolita (to sing in a group performance), Pierre (to promote his current title and to start the next) and Etienne (to get over his writer’s block). The strains between the characters culminate in the singing concert at a country church and an after-show party hosted by Eitienne in his nearby country house. The brilliance of the film, directed by Jaoui and co-written by her and Bacri, is in its humanist/realist approach to dialogue and settings. Its conventional staging directs our attention to the swift interchange of lines that seem believable rather than scripted for effect. Bacri is extremely effective as Eitienne who sometimes seems genuinely surprised that others find him cold, cruel, unfeeling etc. and indeed he often speaks and acts in ways that most of us would probably want to emulate at certain times, but are too polite to actually carry through. But if Etienne is at times insufferable, even the most sympathetic character, Sylvia, is capable of anger towards someone else – hurting their feelings (even though she is arguably justified in venting her anger). Most of the characters are simply too weak to risk Etienne’s displeasure – feeling that his patronage will benefit them.
I’ve seen Woody Allen mentioned as a reference point for the Jaoui/Bacri films and I can see some resemblances but overall I find the differences more striking. Comme une image is intelligent and serious, yet somehow also light and entertaining. It never strikes me (as Allen’s films sometimes do) as ‘smart’, ‘knowing’ etc. with the expectation of a possible gag or self-conscious aside. (But this may be because I’ve given up on Woody Allen films for many years now.) When I first saw this film on its cinema release I don’t think I was aware of Jaoui’s background which is in part Tunisian-Jewish (the North African Jewish connection is also evident in the backgrounds of Claude Lelouch and Joann Sfar). I don’t recognise any connection to the New York Jewish humour of Woody Allen (I’m sure somebody can correct me on that) but in Comme une image, there is a nicely judged pair of scenes in which Sebastién’s North African heritage is commented on and sensitively ‘dealt with’ as an issue.
Comme une image is a ‘comedy’ because it has a happy ending for two of the main characters. Some of the dialogue is witty but mainly the humour comes from the human frailties displayed by all the characters. I’ve seen the film described as social satire, but I think that usually satire is sharper and more exaggerated. This has an effective satire effect but it is more subtle. I think that the film is a triumph for Agnès Jaoui and Jean-Pierre Bacri. He is a very good actor and writer but she manages to sing and to direct as well. Formidable!
Here’s an American trailer (note that the film was a Cannes Prizewinner for the Script):
This evening class at the National Media Museum in Bradford offers the chance to study three films currently on release and to explore how ideas about the family can be exploited to develop different kinds of film narrative and different genres. There are seven sessions on Wednesday evenings from 25 September, 18.15 – 20.15.
The first of these films is a comedy drama set amongst the ‘creative/academic’ bourgeoisie of Paris in which family relationships constrain and ‘trip up’ the central character with comic effects. The second becomes a genre thriller when it tests what characters will do to keep the family together. The final film is a form of family melodrama/relationship drama. Since the films come from different filmmaking cultures (France, Philippines/UK and Japan) there will also be the opportunity to explore the extent to which genres and representations of the family are ‘universal’ or heavily skewed by ‘local’ cultural considerations. We’ll also consider a range of other films that use the family as an important driver of the narrative. The image at the head of this posting refers to the famous John Ford Western in which Ethan Edwards (John Wayne) searches obsessively for his two nieces who have been taken by a Comanche raiding party.
A course outline can be downloaded here: (pdf) FamilyCourseProg
We’ll try to post some of the handouts here over the next few weeks and also to discuss some of the issues that arise.