erik lundegaard

Le Concert
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Le Concert (2011)

WARNING: SPOILERS IN D MINOR

“Le concert” is French, so I assumed refined, about classical music, so I assumed refined again. Plus it was nominated for le meilleur film at the ’09 Cesars. But it’s a rather broad comedy about a group of Russian misfits who pretend to be the Bolshoi Orchestra, and whose concert in Paris looks to be a disaster until they come together and play like a team. It’s basically a misfit baseball movie (“Bad News Bears”; “Major League”), but with Tchaikovsky instead of horsehide.

Andrey Simonovich Filipov (Alexeï Guskov) is the one-time conductor of the Bolshoi Orchestra, who, because of a run-in with Brezhnev in 1980, is now its janitor, bossed around by a bald Khruschevian blowhard. We later find out he has a reputation abroad, not only as a great conductor but as a man of conviction who stood up against anti-Semitism and despotism and suffered for it. He’s the Alexander Solzhenitsyn of conductors! So why is he still schlepping 20 years after the Iron Curtain fell? Why not move to Paris or New York or, hell, Milwaukee? Doesn’t he know his reputation?

For the purposes of this broad comedy, though, he’s still schlepping at the Bolshoi when, in the office of the current director, a fax arrives from the Châtelet Theater in Paris requesting a one-night performance. Filipov, scheming, takes the fax, deletes the corresponding email, and puts together the old team: his right-hand man Sasha (Dmitri Nazarov), a Russian bear of a man; Ivan Gavrilov (Valeriy Barinov), the KGB officer who fingered him, but who is needed for his French language skills and management capabilities; and various Jews (Viktor: Aleksandr Komissarov), Gypsies (Vassili: Anghel Gheorghe) and misfits. A deal with Paris is struck, passports and visas forged, and a gangster/beneficiary found to pay for airfare. Bienvenue a Paris!

Turns out many of the characters have ulterior motives for going: Gavrilov to hook up with the French communist party; Viktor and his son Moïse to sell caviar; and Filipov, most of all, to connect with his soloist for the concert, the beautiful violinist Anne-Marie Jacquet (Mélanie Laurent), who is the daughter of .... ?

It’s tricky. At first, I thought she was Filipov’s daughter—the result of a liaison with the wife of a friend. That would explain why Jacquet’s handler, Guylène de La Rivière (Miou Miou), initially turns down the offer to play with Filipov. It would also explain why Filipov keeps all of Anne-Marie’s recordings and press clippings and why he gets all moony-eyed around her. It would also explain why he takes her out to dinner and why he is hesitant, initially, to explain why he chose her as his soloist.

He could reply, “Because you are the best.” Instead, when she asks, he launches into the tale of his undoing: how, at the Bolshoi, he had a great Jewish soloist, Lea, with whom he was going to achieve greatness in music, but how they were stopped halfway through a Tchaikovsky concert by Gavrilov for illegally employing Jewish musicians; how he was ruined and how Lea and her husband subsequently denounced Brezhnev and were sent to Siberia, where they died. Now in Paris, Filipov plans to make great music again with her; with Anne-Marie Jacquet.

What she should say: “I still don’t see what this has to do with me.”

What she says: “You’re nice, but sick, and I refuse to play with you.”

What she’s really saying: “We need some false tension for the last third of the film to go with the false tension of who my parents are. Everyone knows I’ll play with you.”

Intercut with this broad drama are scenes of broad comedy: clashes between noisy, grasping Russians and cultivated French. The Russians disperse, like the satellites of the Soviet Union itself, around Paris, and can’t be bothered to show up for practice even though they’ve never practiced together.

Meanwhile Sasha tells Anne-Marie, over the objections of Guylène, that if she plays for Filipov she may find out who her true parents were. (She’s been told they were scientists or something who died in a plane crash in the Alps.) So she shows up. As does everyone else. Well, Viktor and Moïse turn up late. You know Jews.

Initially, yes, the orchestra sounds like crap, and there are titters from the cultivated French crowd, and exasperation from the stuffy French critic, and worried looks back home, where the concert is being shown live on television. But Gavrilov, the former KGB man, reveals his worth by sacrificing his communist-party commitment to lock the true Bolshoi director, the Khruschevian blowhard, who shows up at the 11th hour, in an underground room; then he, this Godless communist, prays to God that the musicians will come together and make beautiful music.

Which they do. The Tchaikovsky is beautiful, the Châtelet is beautiful, and the filming augments the beauty of each; and through the music, and through Filipov’s impassioned conducting, Anne-Marie realizes her parents were, yes, Lea and her husband, who sacrificed so much; and though she is not reunited with them, though they are still as dead as the parents she thought she had for the first 28 years of her life, she is somehow filled and satisfied and made whole. As is Filipov, who goes on to fame and fortune.

“Le concert” is not a good movie. It’s not even as good as those misfit baseball movies I referenced earlier. The original “Bad News Bears” and “Major League” sketch their secondary characters better, and you see them practicing together, which is why they wind up succeeding. “Bad News Bears” even has the 1970s-era message that it’s about the performance, not the winning, which is a message Hollywood doesn’t send much, or we don’t receive much, anymore. “Le concert” implies you don’t need to practice, just wing it, and maybe with a prayer to God ... voila!

Plus: Why the subterfuge about Anne-Marie’s parents in the first place? Why didn’t Guylène tell her, particularly when she became a musical prodigy, that her parents were Soviet musicians who died heroes’ deaths? Why create and maintain a lie that has less meaning than the truth?

Admittedly, there is something admirable about making classical music accessible to the masses via a broad comedy/drama like this; but that doesn’t make the film meilleur. It doesn’t even make it bon.

—August 30, 2011

© 2011 Erik Lundegaard