Julie Delpy It’s magic. She always has been, ever since the gorgeous but grumpy Jean-Luc Godard cast her for the first time in his film detective. She has worked with some of the most important directors in the world on masterpieces such as white and the before the sun rise trilogy, and directed her clever romantic comedies, Two days in Paris And Two days in New York. She is not capable of doing badly. It is magnetic even in those abnormally weak films. It may be in the eyes or hidden in the voice.

Her latest movie is the lessonin which she starred opposite the legendary Richard E. Grant (Withnail and I, can you ever forgive me) and a young Darrell McCormack (Peaky Blinders, Bad Sisters). Delpy and Grant play Hélène and JM Sinclair, respectively, two entertainers in a long marriage whose son Bertie (Stephen Macmillan) is preparing for grueling entrance exams; He hires Sinclair’s Irish tutor Liam Somer (McCormack) to help Bertie with his knowledge of literature and creative writing.

The thing is, JM Sinclair is a famous writer working on a new book, and Liam is a fan of it. Helen is a collector and artist, but her work (and life) seems to be overshadowed by JM’s towering ego and career. JM is an authoritarian patriarch whose rule is like a heavy blanket on his son’s shoulders; In fact, JM’s other son was subjected to similar pressure and criticism, and responded by committing suicide. Hélène clearly wants a different direction for Bertie, and Liam is right in the middle of this tense, sweet drama. Alice Troughton is an endlessly intelligent psychological drama with elements of thriller and film noir. It’s a study of class differences, family issues, art, authenticity, and ego, Wilder’s part Double offsetpart of Polanski Ghost writer.

Delpy spoke with MovieWeb about the lesson And her personality, the unique film noir elements in the picture, the nature of the artists, and the metaphors the film deconstructs.

Mysterious mother Fatal in the lesson

the lesson It has a specific and often mysterious character, and the characters have more privacy and mystery. It’s hard to read everyone in the film, at least until the end, as there are secrets and artifice that hide the motivations and emotions of the various characters as the young master coexists in the same lavish space as the hapless husband and wife, the artists and their entertainers. Gloomy, bitter son. Helen is particularly shrouded in mystery. So how did Delpy get into the character? What did you get?

“I spoke a lot with the writer and director of the film about how to approach the character,” Delpy explained. Alice Troughton did not want a typical sort of uptight, sullen and unhappy British wife, she wanted something different. So above all else she wanted to be a mother, protecting her other son and avenging her feelings for her dead son, who had obviously suffered from her husband’s appalling character Larger than life, selfish personality. Follow Delby:

It was mostly from discussions with the director and writer that we came to agree that it needed to be sort of like a femme fatale, but with a twist. I’ll say it again, but she’s such a “mother killer”, that middle-aged killer mother. I think it’s funny to think of it, as a mother, she’s middle-aged, but she still has that dark, cold side, but with that loving mother’s heart.

Misogyny and film noir

Blaker Street

“Mother fatale” is a fancy term for spinning archetypes of an archaic species, and in many ways, the lesson It comically picks up our expectations from film noir, which historically saw women conniving behind the scenes to trick some idiots into making them rich. In various critical circles, the feminist trope (and the pessimistic gender roles of film noir in general) can be read as sexist or liberating. Delpy thinks it depends on the context, but he knows it the lesson as something special.

Related: The Fate of Madame Fatal: From Noir to Superhero

“I think this particular movie is not sexist,” Delpy explained. “She’s doing it for a noble cause, and so it’s everything but misogyny. I think she’s vindictive, because that’s enough, right? So I guess it’s not in this movie, sure. But I don’t know about femme fatale misogyny, you know.” “. And she explained:

What is misogyny? I mean, it’s complicated. I remember a friend of mine who said that misogynists aren’t men who hate women. Men are the ones who don’t like women who don’t conform to their idea of ​​what a woman should be. Because most misogynistic men are actually into women, they don’t talk much to women, they don’t express themselves. This is misogyny. So I don’t know that film noir is misogynistic. I don’t know. not always. Sometimes it is, sometimes it isn’t.

“It’s not a film noir, but it’s kind of like a thriller, North by Northwest,” Delpy continued, giving an example of the moral ambiguity of women in film noir and a positive example (an example not too far from Delpy’s Helen Sinclair. the lesson). Eva Marie Saint’s character is actually a bit manipulative, but she’s also very interesting and sensitive. Ultimately, she’s not the bad guy. She’s actually very smart. In this one, in particular, the character is very [positive]. I mean, they’re so sexy and beautiful and all that, but you know, that’s okay.”

Julie Delpy dating advice for artists

Julie Delpy in the lesson
Blaker Street

Another interesting aspect of the movie, which is at a crossroads the lessonHer anti-misogyny and study of art is the relationship between married artists. Helen is clearly skilled and talented; We see her work and hear her vast knowledge. But her husband J.M. has won acclaim and financial glory, accolades that seem to stifle Helen’s ambitions. We asked Delpy if she thinks artists should marry other artists, or even commit to long-term relationships with each other.

Related: The best biographies about artists, ranked

“I don’t necessarily think artists should date artists. I think artists are better off with people who understand artists, who can be in the artist business but not necessarily the artists themselves. I think it’s complicated, two artists together. Yeah,” Delpy said: I think it gets competitive and frustrating.

Imagine if Amadeus dated Salieri, you know, that wouldn’t be a good relationship. It’s like, there’s always one artist that’s really better. So it becomes very difficult, and when man and woman have been dynamic, for many centuries, women have had to give in. She was a loser woman, because society was more welcoming to men’s art. There are a million examples, blah blah blah blah, a million of them

Artists, you’ve been warned. Although good luck did not fall in love with Delpy’s performance the lessonwhich will hit theaters July 7, 2023 from Bleecker Street.


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