Gainsbourg (Je T'aime...Moi Non Plus)
Magical realism in the time of Serge
Less of a biopic and more of a creative re-imagining, Joann Sfar's Gainsbourg (Je T'aime...Moi Non Plus) is the jaunty and colourful story of the grizzled French musical genius (or dirty old man depending on who you ask). The film is based on the lies surrounding and adding to the legend of Gainsbourg as much as historical accuracy. Ironically the film is very honest about its elements of fantasy with frequent forays into a kind of Gallic magical realism.
Sfar's past in comic books has clearly influenced the film – sinister grotesque and exaggerated doppelgangers haunt Gainsbourg's early years, referred to by Serge as 'my mug'. It is the voice of this 'mug' which initially convinces him, like a tiny cartoon shoulder devil, to become the philandering crooner we remember. The 'mug' disappears towards the end of the film, as if Gainsbourg over time no longer needs this imagined, exaggerated version of himself, as he instead becomes his own caricature.
Speaking after the film, Sfar talked about his unusual fantastical approach to the film and how the Gainsbourg family, having turned down many film makers wishing to make a biopic, agreed because his version was so charming and unusual – like the man himself.
Spanning Gainsbourg's whole life, we see the world change around someone who is still stuck in the 60s – a period that the film delights in, galloping through his later years with little time for reflection. The young Gainsbourg is the cheeky upstart you would expect, however his family life and his life as a Jew in Paris under the Nazis adds an unexpected depth to our understanding. The father/son relationship in the film is very successful – his father going from distant, frightening authority figure to become the friendly, supportive fellow conspirator who dances around the room when he hears of his son's conquest of Brigitte Bardot.
The characters are cleverly styled to resemble their subjects and Elmosnino displays an uncanny resemblance to Serge in his later years, or perhaps the illusion is just so complete that that is the impression you get. Laetiticia Casta, rather unsurprisingly nails the quiet pulsing sensuality of Brigitte Bardot – in one scene rolling over on just waking up, purring poutily, 'Do you have any croissants?' and fulfilling every positive stereotype of the French.
Lucy Gordon's fragile and yet fiery Jane Birkin is achieved masterfully and her spindly limbs and doe eyes win over the viewer immediately, adding a touch of tragedy to the film because of her sad death whilst the film was in post-production. The film is dedicated to her.
Sfar's past in comic books has clearly influenced the film – sinister grotesque and exaggerated doppelgangers haunt Gainsbourg's early years, referred to by Serge as 'my mug'. It is the voice of this 'mug' which initially convinces him, like a tiny cartoon shoulder devil, to become the philandering crooner we remember. The 'mug' disappears towards the end of the film, as if Gainsbourg over time no longer needs this imagined, exaggerated version of himself, as he instead becomes his own caricature.
Speaking after the film, Sfar talked about his unusual fantastical approach to the film and how the Gainsbourg family, having turned down many film makers wishing to make a biopic, agreed because his version was so charming and unusual – like the man himself.
Spanning Gainsbourg's whole life, we see the world change around someone who is still stuck in the 60s – a period that the film delights in, galloping through his later years with little time for reflection. The young Gainsbourg is the cheeky upstart you would expect, however his family life and his life as a Jew in Paris under the Nazis adds an unexpected depth to our understanding. The father/son relationship in the film is very successful – his father going from distant, frightening authority figure to become the friendly, supportive fellow conspirator who dances around the room when he hears of his son's conquest of Brigitte Bardot.
The characters are cleverly styled to resemble their subjects and Elmosnino displays an uncanny resemblance to Serge in his later years, or perhaps the illusion is just so complete that that is the impression you get. Laetiticia Casta, rather unsurprisingly nails the quiet pulsing sensuality of Brigitte Bardot – in one scene rolling over on just waking up, purring poutily, 'Do you have any croissants?' and fulfilling every positive stereotype of the French.
Lucy Gordon's fragile and yet fiery Jane Birkin is achieved masterfully and her spindly limbs and doe eyes win over the viewer immediately, adding a touch of tragedy to the film because of her sad death whilst the film was in post-production. The film is dedicated to her.
Many hardline Gainsbourg fans will be disappointed by this film and its diversions into fantasy. However, it is part of the magic of the film and seems appropriate that such a character, surrounded by such legend and hyperbole, can only be understood completely when removed from the strict limitations of reality and realistic storytelling.
Just like how the songs are not simply the original recordings, but sung by the actors, the entire film is a creative interpretation – not just of Sfar or Elmosnino interpretting Gainsbourg, but also how France interpreted him, and most importantly – how he interpreted himself
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