Comédie-Française

Writers: Pauline Clément, Clémence Dargent and Martin Darondeau

Directors: Martin Darondeau and Bertrand Usclat

It is strange that there should be so many films paying tribute to the rival art form of theatre. Such films tend to follow a format involving a group of besieged thespians overcoming a range of challenges thanks to the magic of theatre.  The affectionate Comédie-Française, written by Pauline Clément, Clémence Dargent and Martin Darondeau and directed by Darondeau and Bertrand Usclat does not deviate from this tried and tested formula.

Macbeth is regarded as an unlucky play so might be the wrong choice for Nina (author Pauline Clément), actor at the Comédie-Française, to choose as her directorial debut. Initially the problems facing Nina are more cultural than theatrical. Paris is famously bureaucratic and Nina has to cope with a jobsworth at the theatre who, although knowing her identity, refuses her admission as she has forgotten her pass.

The issues which arise are more niggling than significant- an actor who refuses to wear the colour green or to speak the name of the play. Gradually, however, events begin to snowball. The actor due to play Lady Macbeth has taken a lucrative TV role and is stuck on location necessitating Nina standing in as substitute. Her unreliable partner dumps their child at the theatre and eventually the stress becomes so great an intervention by a literal theatre ghost is needed to give Nina a pep talk.

Although the movie pokes fun at almost anyone (actors, stage managers, make-up artists) who might be involved in the theatre an exception is made to avoid critics. All the other usual suspects are present and correct including a veteran actor who smokes home grown cannabis to prepare for first nights and a lead actor is blissfully unaware his wife is making him a cuckold. An actor who not only cannot remember the script she does not actually understand the play and an usher who is so enthusiastic he knows the play backwards.

Significantly, however, none of the characters is actually unpleasant. Philippe (Laurent Stocker), having embarrassingly learnt of his wife’s infidelity via the public address system, is allowed a dignified response pointing out he did not miss a stage performance when his children were born or his mother died and he is not going to start now.

Although the hurdles endured by the actors are not surprising there are some excellent gags. When Molière’s ghost appears and encourages Nina he produces his own stage pass to confirm his identity. Nina has to run a gauntlet of well-wishers encouraging her to break a leg and an offensive shadow is cast by an onstage prop.

There is little tension in the film. The audience is fully aware the problems will be resolved via the strange magic of theatre. When props crash from the ceiling within lethal distance of the cast you just know the Culture Minster in the audience will assume it is part of the show and proclaim the effect to be magnificent.

Directors Martin Darondeau and Bertrand Usclat build up the feelgood fantasy element of the movie with a luxurious setting. Nowadays audiences go to the theatre or cinema as it is cheaper than heating their homes but the grand venue in which Comédie-Française takes place is a throwback to the days when theatre attendance was an event. Tracking shots take the audience through a bewildering maze of backstage corridors and statues of past theatre greats adorn the rooms and provide a flagging Nina with motivation.

Comédie-Française is a brief film which does not overstay its welcome and is a delightful and charming tribute to theatre and the acting profession.

Comédie-Française is in UK and Irish cinemas from 9 October.