UPDATE: Additional translations from Alt Film Guide:
An early Cosmopolis review has come out via Studio Ciné Live‘s Fabrice Leclerc. Directed by the iconoclastic David Cronenberg, who adapted Don DeLillo’s novel, and starring Robert Pattinson, Cosmopolis is definitely one of the most eagerly anticipated films at the Cannes Film Festival 2012.
The headline of Leclerc’s brief, three-star (out of five) Cosmopolis review reads: “A Cronenberg as brilliant as he is taut.” Leclerc then begins his review by explaining that Cronenberg and DeLillo are “manufacturers of fantastic, unhealthy, and at times somber environments, of the science of language, and of totally chaotic characters. And of controversy as well.”
Referring to Cosmopolis as a “ghostly and hypnotic” tale, Leclerc adds that Cronenberg had adapted to the letter DeLillo’s “ultrarich prose, filming with an incredible inventiveness this stifling and disturbing airtight environment.”
As for Robert Pattinson, Leclerc says he’s “impeccable” until Cosmopolis‘ last segment, when, “lost in a verbal torrent,” Pattinson “seems, all of a sudden, to be no longer in control.”
Leclerc wraps up his review with the following: “As always with Cronenberg, there are no half-measures, no second gateway, no escape. Cosmopolis is to be experienced in full or not at all. Take it or leave it.”
I would debate with Mr. Leclerc that Eric Packer no longer in control at the end is the right move. But I have to wait until I can see the film. 😉
The reviews for Cosmopolis will start pouring in and Studio Ciné Live (French) offers up the latest. They give the film 3/5 stars and bottom line the film to there’s no in between with a Cronenberg film. It’s you take it or leave it. We’re going to take it. 🙂
A Cronenberg as brilliant as he is firm.
Each in their own genre, David Cronenberg and Don DeLillo are silversmiths of fantastic, unhealthy and sometimes dark atmospheres. As well as of the science of language and characters in shambles and – let’s not forget – of controversy.
It’s then pretty obvious that one would end up adaptation the other’s work. Cosmopolis is the ghostly and hypnotic story of a day in the life of a golden boy who is about to lose his empire because of the crisis, indifferent to the world that surrounds him. He’s hypochondriac and schizophrenic. His long journey across a chaotic New York, rythmed by meetings with his wife, his mistresses and his employees, will lead him to a point of no return. In a perfect balanced cinematic movement, David Cronenberg decided to adapt to the letter the extremely rich prose of Don DeLillo. He filmed with an incredible ingenuity this stifling and unsettling closed-door.
This preconception to stay faithful to the text of the author is amazing but not without any danger. Especially in the last part of the film, where one could definitely get lost in a verbal flood that becomes complex for the viewer and for Robert Pattinson – who was perfect until then – but seems, all of the sudden, to lose control.
As always with Cronenberg, there’s no in between, no second place, no way out. Cosmopolis gets appreciated at full or not at all. Take it or leave it.
If you miss any Cosmopolis reviews, you can find them in the menu bar – The Reviews