Contender for the weirdest film of the year and a truly bonkers misfire, this is a musical only in the sense that much of it is sung in the vein of Tommy (1975) but completely lacking in the kind of memorable songs that would make it qualify for the genre. It is the most over-ripe of conceits, actors who can’t sing, a story that doesn’t fly, characters whose characteristics are endlessly laboured, little development, and a director who clearly believes audiences will swallow anything.
World-famous soprano Ann (Marion Cotillard) marries agent provocateur stand-up comic Henry (Adam Driver). Her stage act consists of dying and bowing, his of heckling his audience. The relationship soon hits the rocks but not before she has given birth to Annette. This is where it becomes even more tricky because Annette more closely resembles an offspring of Chucky, the horror doll, rather than, as was clearly intended, Pinocchio. The story takes an odd turn, which I won’t reveal, but it fails to redeem the project.
While Driver (Star Wars: The Rise of Skywalker, 2019) is quite convincing as the bonkers comedian – especially in one skit where he has the audience believing he has killed his wife – and it is virtually impossible for Cotillard (La Vie en Rose, 2007) to be bad in anything, the film needs more than repetitive scenes of her singing and him upbraiding the audience. Cotillard actually has a reasonable voice – and has cut a few albums – but what she is given to sing here makes a mockery of her talents.
With names such as director Leos Carax (Holy Motors, 2012) and screenwriters/ composers Ron and Russell Mael of Sparks fame this was clearly always going to err on the side of cult. It might have worked if the director could have seen his way to a bit of brevity. At 90 minutes or so it might have been an interesting trifle. At 140 minutes, it outstayed it welcome.