Kermode & Mayo’s Take - Louis Garrel, Scrapper, The Innocent, Theater Camp

Episode Date: August 25, 2023

With Mark deciding he simply hasn’t had enough of the UK’s waterways and heading back out to join Simon, Robbie Collin and James King are stepping in to co-captain The Take podcasting vessel.   James sits down with the funny and philosophical French writer, director and actor, Louis Garrel, to discuss his latest film ‘The Innocent’, a comedy-heist-come-family-farce that’s far more personal than you’d first think.    Robbie reviews ‘Scrapper’, a sunny, imaginative kitchen-sink drama starring Harris Dickinson; and ‘Theater Camp’, a Young Hollywood-packed comedy about the eccentric staff of a rundown theatre camp, who band together with the beloved founder’s crypto-bro son in an attempt to keep it afloat.  All in all, a great week in movie going.    Time Codes (relevant only for the Vanguard - who are ad-free!):  11:43 Scrapper review  24:31 Box Office Top 10  40:00 Louis Garrel interview  56:53 The Innocent review  1:02:10 Laughter Lift  1:05:20 Theatre Camp review  1:13:41 What’s On    You can contact the show by emailing [e-mail] or you can find us on social media, @KermodeandMayo   EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee!  A Sony Music Entertainment production.     Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts    To advertise on this show contact: [e-mail]  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Your business has grown fast, from opening your first location to planning an expansion in no time. And with your business platinum card from American Express, you can access spending power and payment flexibility to fuel your growth. Sarah, the contractor is here with the plans. American Express, don't do business without it. Terms and conditions apply visit mx.ca slash business platinum. Robby, great to see you.

Great sea gyms. King and Colin in for mayo and commode. Listen, I am aware that King Colin does sound a bit like a wacky early 90s British comedy in which a hapless milkman called Colin, probably played by Eric Eidl, discovers that he's next in line for the throne with hilarious consequences, co-starring Richard Griffiths and Elizabeth Hurley. That's a film we can only dream of. I'd watch that.

I know, I would. And I'd probably love it. I'm quite tempted by it. But unfortunately, it's only fantasy. These are the real films, Robbie, that we'll be talking about this week. Yes, so we're talking about Scrapper, Theatre Camp and the Innocent.

And we also have a very special guest connected to the last of those. Yes, Louis Garell, who stars in the Innoc the innocent co-wrote it, directed it as well, extra takes to at least an extra 90 minutes of this nonsense weekend watch list, we cannot list two. So five of which are great, three you'll hate bonus reviews. And in taking all leave it, you decide we're watching Apple TV Plus's silo. One of us has been consumed by that series. Yes. Find out which one later. And Pretentious Muah, of course, one of my favorite features.

I somehow have managed to escape. Originally, it was going to be for both of us. Yes. So you would be tested, I would be tested. And then literally minutes ago, I was told that it's only you. So I've escaped it. But you will be tackling that feature today, pretentious more. And then one frame back this week is inspired by theatre camps.

So we're looking at films and TV shows about theatre kids. You can of course support us via Apple podcasts or head to extratakes.com for non-fruit related devices and of course if you're already a van God Easter as always we salute you. You have to Venice soon. I am off to Venice. Yes. So Venice Film Festival that must start one a few days time next week. Yes it's on Wednesday of next week. And it's, yeah, we talked a bit about the, the active strike and the right to strike on last week's show.

And my assumption was always that clearly the studios will have all of the strike stuff tied up before the Autumn Festival season kicks in. So you have Venice, you have Telluride, you have Toronto, New York and London, I think are the big fun. They're pretty much back to back. And this is, yeah, they kind of run through

solidly to the end of October. And this is when a lot of the maybe more high-brow Oscar contenders start to emerge and start to kind of limber up on the sidelines ready for the big coming race. I thought, you know, the PR value of a red carpet at Venice, you can't put a price on that. So whatever the cost is, the studios will move heaven The PR value of a red carpet at Venice, you can't put a price on that. So whatever the cost is,

the studios will move heaven and earth to make sure the stars are back on the red carpet, back supporting the product for the festival season. No, they didn't. The strike is continuing and so this means that it's going to be a bit of an odd festival. Now, a number of the films there are going to be represented

because they've got waivers from Saigafra, the Actors Union, so the cast can turn up. So in the case of super extreme independent films, Sophia Coppola's Priscilla about the wife of Elvis Presley, that, I think, the cast are allowed to turn up and support. And I think Michael Mann's Ferrari as well, starting Adam Driver, this is Mann's first film since Black Hat, about, well, what, 10 years ago, I think. I think Adam Driver's allowed to support Ferrari as well, starting Adam Driver, as Man's Friars film since Black Hat about what, 10 years ago I think.

I think Adam Driver's love to support that as well because it was an independently financed film. But something like Pura Things, which is one of the big films there as to the Yorgos Lantzimos adaptation of the Alistair Green novel, one of the formative novels of my teenage years, no pressure Yorgos, I'm sure it's great.

I don't think the cast are going to be there for that. And also the original opening film, so Challengers by Luca Guadagnino, was in the end pulled completely. So they valued the red carpet and the press and the attention they would get from Zendaya turning up on the red carpet at the Venice Film Festival. They valued that so much that when that wasn't gonna happen, it gets pulled entirely. Yes, and this is, it's a pity. I mean, my understanding is that Guadaniniu

is less than delighted with this shift in strategy because I mean, I've heard the film is great and it could easily be an Oscar contender where it's been released in Oscar season. I think it's now been pushed back to next April, or something so quite some way, which is a pity, but there's a lot on the program Mystrel,

the brother Cooper film, but Leonard Brownstein, that's gonna be there. Yeah, so just saw the trailer for that. Looks interesting, doesn't it? It does look interesting. I'm a huge brand new Cooper fan, and I think we under value him a little bit, possibly still think about him in the hangover days too much. And clearly look, he's a good looking guy in an A-list movie star, but actually I think he's brilliant at playing flaws characters.

Yes, I mean goodness, any doubts about that guy's talent were completely dispelled by a star as born on the acting and directing front. It's an extraordinarily well-directed film. So, yes, very excited for my short. Final film from William Friedkin as well, of course, the came-to-need court marshals going to be there. And Michael Fassbender returning from his stint as a limon racer for proton, which I only found out about a few months ago, he's finally back on the screens in the new David Fincher film The Killer in which he plays an assassin who I think is tailing our,

his new target-round Paris. And I imagine having an existential crisis, probably it sounds like that kind of film. I mean, one of the great things about film festivals is you turn up with no idea what anything's about. There's Wes Anderson, the wonderful story of Henry Sugar as well, his new role-down adaptation. Yeah, it's 50 minutes or something.

Yes, I've not read that role-down book, and I'm not going to before I go because, you know, a huge part of the satisfaction is you just go in, you know the director, you know the title, you might know who's in the cast and then, you know, what happens happens. Well, having an amazing time, I picture you very much like Roger Moore in Moonraker, in his pimp-top gondola in Venice, where he flips a switch and it turns into like a hovercraft. That's exactly how it is, and a pigeon kind of is there and it kind of does this double take as well when it happens. So yeah, absolutely, live in the dream. And there's an Italian

man drinking bottle of wine and he checks the label because he can't believe what he's seeing. Well, enjoy yourself. We've had an email in from, who's this from Matthew Moore? That's it, Matthew Moore. He says, dear Tom Cruise and Christopher Nolan, I mean, shall I take the Tom Cruise role in that? I'll gladly go, Nolan, thank you. He's an MCL synth specter. That's pretty long actually, and first time emailer.

Matthew says, last year I undertook my first year working as a qualified teacher, this means I now have plenty of cinema funds, but no actual time in which to use it. And as the summer holidays rolled around, I decided to cram in as much movie time as possible before the hordes of 11 to 18 year olds fill my whole timetable again. Now I've recently had the pleasure of seeing both Mission Impossible and Oppenheimer at iMac screenings, very different films, but both fantastic viewing experiences, or rather I should say I saw 90% of both films.

I suffer from a condition which means I struggle to sit for long periods of time without a wee break. At 2 hours and 40 and 3 hours respectively, there was no way I could have made it all the way through both of these films in one sitting, even with my precision timing of the pre-show, Lu Run. So, this brings me on to the subject of intervals. Cinema is the only art form where an audience are expected to sit through the entire experience in one sitting, no matter the length in theatre, concerts, comedy shows, etc. There's always an interval for audience members to have a stretch and what not. I love a what not. We saw Swan Lake in London

recently, there were two intervals. If you see a band, there's a break between the sport act and headlines. If you're watching Long Form TV, there are natural breaks between episodes. Cinema seems to be the only art form we're expected to sit for the entire duration in one continuous sitting. What do the good doctors, not here I'm afraid, but what do the good doctors think about this? Do they have an opinion on it, along with the general lengthening of films we seem to be seeing today?

Tinky Tunk, down with Michael Bay movies, et cetera, et cetera. Matthew Moore, Master of Music, PGCE. I mean, we should know it was not always thus, right? In the age of the biblical epic, intervals where our intermissions were absolutely standard. Practice, I love an interval. I think it gives a sense of gravity and equations in this kind of a...

You saw one. Yes, I was trying to think about this. I think I have reviewed two films with intermissions since I became a critic 15 years ago, Ish. So the most recent one was Occupied City, which is Steve McQueen's four-hour documentary about the Nazi occupation of Amsterdam. That has a built-in 15-minute intermission,

and you need it. You need to kind of decompress and come to terms. And it's very kind of specifically positioned. Here is the point at which you are going to have some time to yourself before we carry on with this stuff. And the other was the hateful eight. You know, the kind of mega-sized mondo road show, 70mm presentation of that, which had an on track built in again to kind of ramp up a cliffhanger, I think midfilm.

I love them. I think if you can build a cliffhanger into the scripts and say, and now the audience is going to have a moment to have a whatnot, and also to re-up the concessions as well. Right, I mean, this has got to be a good money-making strategy for cinema. They will sell more snacks and sweets, even if they're not. It prevents them from squeezing in maybe one other screening that day because if they extend their running times. I'm sadly fallen by the wayside. I have to say in Oppenheimer, I'm not sure where you would put it. I mean, to put it after the bit would be so kind of insanely anticlimactic

to watch that and then to go out for some levels. I mean, that's massive. You need to kind of, and also that film is superpulsive, right? Nuland wants you to be jet propelled through that whole thing. You do, and you can't, if this is going to happen, it can't just be, like they do on some podcast where they just ram an advert in out of the blue. You don't even know where it's going to go. It needs to be at the script stage where you write in that they will be an interval because to talk about natural breaks when and Matthew talks about natural breaks in TV shows and things like that. Well, yeah, if you're in an ITV or whatever, there are natural breaks written into the script because they know they've got to have those adverts breaks. So it would change screenwriting a bit, but that's not necessarily bad thing.

In terms of the lengths, I mean, how long is a piece of string really? The movie should be as long as it needs to be to tell the story. And not a minute longer. I mean, the problem is rather than having a long film with an intermission now, you have two long films, which are over these six months apart. So, with kids, the screen adaptation of that that's coming out,

was split insanely into two films. And I think the line was, oh, well, we can't do justice to this story in one sitting. And it's like, well, the West End has been doing just that for a year. So, why do you just use that script? And this, of course, mission impossible, dead reckoning. In a way, we've got part two of that coming next summer, I think, probably not now because of the strike, but this idea of a two-part story is nice, but two of the two films. The new Zack Snyder film, Rebel Moon, has got, yeah, actually, yes, hurry, I think the trailer for that is really good. The announce, I think part one is coming for Christmas.

Right. And then there's a three-month intermission. And then part two is coming for Christmas. Right. And then there's a three month intermission. Yeah. And then part two is arriving spring 2024. Matthew Moore is going to love that three months intermission. That's plenty of time for a what not, isn't it? Absolutely. Harris Dickinson was on the show last week.

He was on the show. I mean, he was on a lot of the show. He was virtually a third presenter on the show last week. He was lovely, yes. His movie is called Scrapper. It's out this week, and here's Robby telling you all about it. Yes, so Scrapper is the debut feature of a young British film maker called Charlotte Reagan, who's made a lot of shorts

and music videos. This is her first work on a bigger canvas, although big is kind of a relative time here because it is only 84 minutes long. It's the story of Georgie who's played by 11-year-old Lola Campbell, who is also a total newcomer. She was streetcast for the role. She's living in the council house that she shared until recently with her mother who's died of cancer, and she's keeping the place pretty much exactly as her mum liked it, and working through, so the sofa cushions have to be

exactly where they were. The room has to be hoovered, everything's kept very orderly. And she's working through the stages of grief, which are magnitude to her fridge door, like a kind of a shopping list or to do list. And she kind of thinks she's about halfway through at this point. She's able to fend off social services by playing recordings of her uncle Winston Churchill, which are actually provided by this

ding back local corner shop, who's, you know, behind a tail and will kind of assist by saying, oh, yes, we're having a spare tea bowl and these tonight is all lovely. And these can be played down the phone and social services are absolutely fine with that. And income comes from stealing and resparing bikes, which she does with her friend, Ali. And here's a clip of them at work. That's my bike. Oh, um, hi there. We were just making sure that all of these bikes

were road safety and we were just walking by. Oh, yours isn't by the way. We were just walking by and we just, Yeah, we thought it looked a bit... You know? Yeah, guys, you probably get that service or something. Yeah, yeah, full service. You can never be too careful. Yeah, the barons, like, completely gone in the back wall. And they want me to be honest.

Yeah. Yeah, if I were, we'll just a little bit of lies. How good is Lola Campbell in this? I'm good at this. It says completely delightful performance. Yes. And it's so good because it's so naturalistic. I mean, we were watching the clip on the screens there. And the way she's kind of shifting her weight from one foot to the other and looking up slightly

suspiciously and then trying to affect, there's nothing a miss going on here. We really are checking the safety of your bike, Madam. It's really beautifully done. And I mean, obviously this is the result of phenomenally talented young actor, but also a director who really knows how to draw that out of them.

Also later in the film, not much later in the film, a co-star who knows how to bounce off them well. And that is, of course, Harris Dickinson, who shows up on the scene. He plays Jason, who is Georgie's estranged father, who's been working over in Spain for a while, but because he hears that his daughter's now in need of a parent, he's come back to finally do the right thing

and to face up to his responsibilities. Georgie is less and delighted to see him. And Harris, when he was on the show last week, he talked about Jason's entrance. He doesn't knock on the door and do the East Enders thing, I'm your real dad. Teddy kind of climbs over the back garden fence and sneaks in like an intruder.

And an intruder is essentially what he is. So the story of the film is Jason's attempts to reconnect with Georgie. It's a story we've seen a lot in cinema about the airant father and the precocious daughter, you know, Paper Moon, obvious classic example, the book down of its film, very recently, of course, after son, with Paul Mezkoz, while you're another debut British feature from a film called The Similarities.

The similarities are going to help this, aren't they? I hope so, although I mean, it, totally, they're not that similar at all, even though the premise does have a lot in common. I think that the thing with Scrappers, it doesn't really bring any new twists to that formula. Instead, it just allows it to play out in this English council estate setting in very surprising, loving, lighthearted, light touch ways.

When Highest Dickinson was on the show last week, he likened it to Mike Lee. The name that actually sprung to mind when I was watching it, the first time was Bill Forsyth, particularly that sinking feeling. And above all, Gregory's girl, because I think we've become very bad in British cinema at showing working class characters

being quirky and eccentric. So there's this idea that if you are quirky and eccentric, these are qualities that can only be ascribed to middle class or posh people. And I think there's a degree of exhaustion in the industry with very well-meaning stories of bittersweet struggle and scrapper absolutely isn't that at all. It's a very, very naturally charming and appealing film.

I think that's it's strong suit. The, the Kendra's State itself is the color of Woolworth's pick and mix, you know. It was, it was shot by Molly Manning Walker, who is another incredibly promising debut filmmaker, her film How to Have Sex was at Cannes, and at one that on Saturday and regarding price this year, I think it's coming out in October.

So there's a lot of kind of young talent bubbling away here. And as I say, Harry Stickinson just gets the absolute best out of his young co-star. The film, I think, is at its best when it's doing almost nothing at all. So the two of them are bonding on a railway station platform. There's a moment where they're trying to pantomime a conversation

with a couple on the opposite platform. It's another point where they're in a derelict warehouse, just practicing dancing and messing around. I don't know if you've seen, so there's a Japanese film called Kikuduro by Takeshi Kitano. And the dynamic between them in those messing around seems really reminded me of the kind of aging gangster with the young lonely kid in that, and it's just kind of delightful to watch them kill time together. I think elsewhere, it's got this kind of first film,

splurgy energy that sometimes works in its favor, sometimes doesn't. There's this completely crazed gambit where you have spiders in the house talking to each other in the style of a super Nintendo role playing game and the dialogue boxes pop up and go, and some sort of documentary-esque moments. Yes, slightly gimmicky. So the spider thing, I think, is that does work. It's the kind of thing you would never attempt at any other career chunker than your first film. The documentary cutaways to, like, their kind of interviews you would never attempt at any other career chunker than your first film. The documentary cutaways to like their kind of interviews

about Georgie's life with these supporting players. To me, they felt really broad, quite sick, comi, and not exactly internally in keeping with the rest of the piece. So I think, you know, but this is kind of first film, messiness and experimentation, you're absolutely allowed to do this. And I think, you know, what none of this does at all is dampened down the sheer kind of charm that really ex-office

thing. And for 84 minutes, your socks will be comprehensively charmed off, I think. I loved it. So I mean, I write down, um, shade meadows, actually. I thought a bit of Thomas Tergoose in this is England. And again, with that kind of amazing comic sensibility, just, you know, lightning the whole thing and making it an absolute pleasure to spend time with. What's coming up, Robbie? Later to ensure we have reviews of the Innocent and Theatre Camp. And Louis Guerrell as well will be coming up from the Innocent. We'll be back before you can say, writers can't write as fast as governments make wars because to write demands

thinking. That's from our old friend, but old-brecht. You know that the new season of the Crown and the Crown, the official podcast, returns on 16th of November to accompany the sixth and final season of the Netflix epic Royal Drama series. Very exciting, especially because SuperSub and Friend of the Show Edith Bowman hosts this one. Indeed, Edith will take you behind the scenes, dive into conversation with the talented cast and crew from writer and creator Peter Morgan to the crowns Queen Elizabeth in Mel Distant.

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James King and Robbie Collin in for Mark and Simon this week. I love the email Robbie from Aidan in Redding. I have a 14-year-old who aspires to enter the film industry. How many emails do you get like this? I get quite a few. Can you help me with my A levels? And I'm always happy to help. I'm not saying I will for everybody who emails me or messages me, but I have helped a few people with their film studies A levels. Listen, I couldn't do A levels now. The answer is no. I can really do my 10 year old homework now. You tell it front of the variables. I write for a living. I have no idea what front of that variable is. Aiden says the passion for film has grown in the past year after listening to the podcast

and doing some research into film and film history. I'm now at the age where I will be starting my exams this year and will sit them in the near future. But due to a lack of interest in film at secondary schools around the UK, I'm not able to partake in film studies, and instead decided on taking media studies. This is a problem that was not raised in my school as the subject was offered, but not enough people chose it. Personally, I believe this is a travesty needs to be rectified. I would like to hear your opinions on the education system being blind to

the idea of film. As always, think of he tonk old fruit and down with a certain group. I mean, surely we're gonna be very supportive of film studies at school, right? I can't see. Why are the kids not choosing to do film studies? I don't understand this. You can sit in the classroom watching

the school. I'd love to be offered film studies at school. I couldn't believe. I took film studies and thought there's got to be a catch for this. There has to be a catch. And on the first lesson, be sat down. The TV got wheeled through because it was the olden days

on the trolley. And I came a VHS tape of Terminator 2 and it went. I was like, this is the dream. If I can somehow parlay this into a career, I'm low and behold. But look, actually, funny, I wrote about this recently in the telegraph. It was off the back of Tica YTT saying in an interview

that the kids didn't know who directed Casablanca nowadays. And this kind of ambient film knowledge was ebbing away. And after I wrote the piece saying, well, the kids should know who directed Casablanca and they should be taught in schools in the same way, they're taught, you know, who are othering heights. A lot of film studies departments got in touch. I mean, to say, you know, absolutely, this is a hugely, hugely important subject. I think even if you don't want to work in film, film studies matters more than ever now because the world is full of moving images, right?

And we have to equip kids to understand how they work and how to decode them, where the power comes from in terms of the cut and in terms of the short choice, how it is that these images are persuading them, manipulating them, perhaps, in order to navigate modern life, you need to know how moving images work for one. Secondly, film is an enormous employer in the UK, much, much more so than it was when I was at high school and watching terminally to two.

We have this amazing studio system here that Hollywood taps into constantly. We have world-class VFX houses. And also this sort of at the moment, this apparently thriving independent scene for every other debut feature that comes through as incredible. And it's not just, you know, the crown, the heritagy stuff, you know, that shot here, Barbie was shot here, FastX was shot here, you know, if you want to kind of work on Blockbuster Cinema, the UK is the place to do it. And it's an enormous employer. I don't know if schools generally appreciate that this is the case. But also, loving film is an end in itself, you know,

like loving literature is. There's more than a hundred years of this stuff to dip back into. And it's sort of heartbreaking to think that kids will see, you know, a choice of three franchises or cinematic universes and think, well, this is kind of the limits. There's so much you can watch. And the thing is, kids will watch anything. My children will sit down and watch two hours of some idiot playing Minecraft. You know, if they will watch that, they will watch Jack Tatty. And they do watch Jack Tatty. If I sit them down in front of it and say, look, this is good. We're going to watch this together. And they'll enjoy it. You know, they will watch Studio Ghibli films, of course. Anime is such a great gateway into world cinema for kids.

studio jibble films, of course. Anime is such a great gateway into world cinema for kids. Silent comedy, Buster Keaton, Lawland Hardy, of course. You know, there's endless stuff. In fact, I have to write in the piece, I put a call out onto Twitter saying, what classic studio films would you present to young people to persuade them that this year of cinema was for them? And one title that kept coming up is Sydney Limets 12 Angry Men. I remember seeing that film as a teenager and being completely stunned by it. So I think you know, this stuff still absolutely has purchased and should be taught in schools as a mandatory subject, I think, up until I mean, what, when do you have to do English until 16 years old? Absolutely. Yeah. Movie images are so important. You shouldn't kind of mess

around just because, you know because part of it is fun. I remember I didn't at school but it was at university for me when I did film studies and just being, my eyes were open by the fact that actually yes it's film studies but it encompasses so much more. So you can do film studies but you're also learning about history. You're also learning about psychology, about economics, about sociology, fashion, art, so many different things. One of my lecturers was always used to say, we're gonna look at this film through different lenses,

put different templates over it, look at it historically, look at it economically, look at it from a technical point of view. So yes, it is watching a film, ultimately, but there are so many other subjects that come into that when you are studying that film. I think I learned more about history through film studies than I did through my actual history lessons. So yes, we're on your side, Aidan, and good luck for the future.

Should we do the streamers and box office top 10? Let's lie with me, you talked about this last week. This is, I mean, it's only in the top 30, number 26, but we have had an email last week. This is, I mean, it's only in the top 30 number 26, but we have had an email through from Lucy. She has a little beef with Mark on this. Okay. So, lie with me, dear Avevou and La Plume de Matante. I thought the seismic power of love was exquisitely captured in lie with me, and older Stefan's gradual piecing together events was perfectly placed. The characterization was so true, especially the excited, infuriating, kind local woman assigned to take care of Stefan. We all know someone like her. So it seemed that Mark's main disappointment was that it was not a Francois Ozzar film,

and that if it had been, it would have taken the audience to unexpected, maybe dangerous places, and this would have been better. It's as though Mark was saying you haven't made the film in the way I want it to be made. Therefore I don't like the film you have made. I mean, that's Mark, isn't it? That's kind of something about, but that's why we love him. I saw Li with me in the immediate aftermath of England losing to Spain and it made me think, if you don't get people watching the line-essers, you don't get people watching the line-essers and saying, I don't like you watching the line S's, you don't get people watching the line S's and saying,

I don't like you playing football, I want you playing rugby instead. Maybe this is a result of the on-demand world we live in where we expect everything to be curated precisely to our individual taste. Above all, for me, the message was, don't miss the chance to tell someone you love them. The question is, and I love that Lucy is leaving us

on a cliffhanger here. Have I got the courage to do that? Wow, I mean, that opens so many other doors, ending on a cliffhanger like that, Lucy. But that's Lucy's thoughts online with me, which I absolutely loved. And incidentally, you mentioned the book last week, the French book. I have read the book in English. The English translation is by Molly Ringwald. No. Molly Ringwald, who is a real franca file, has done the English translation of the book, Lie With Me, which is well worth a read. And I'm guessing that's why you were attempting to...

It was caught by it. It is. Absolutely. I mean, look, I feel slightly guilty here, because it was me that brought up Ozon. Not as a criticism, but just when you hear the premise of the film, you think, okay, so this is going to be, like, Ozon is going to be a degree of trickery and deception. Yeah, and it just isn't that at all. No, it's a very charming, emotionally heartened sleeve drama.

And yes, I think the central relationship is really tenderly played. Call me by your name has been the main comparison, I think that people have been making as well. Right, in the UK top 10, then not in the US yet. It's Gran Turismo based on a true story. Yes, this is sunk like a rock. I mean, it's surprising, given that people seem warmly disposed towards it. I've planned to catch up with it, but was completely side-tracked by this week's Ticket of the View to Side, so I feel I can't vote for either way. But I'm surprised

that it's fallen as quickly as it has, because what is it? Number 10, 10 this week and the second we can release. Yeah. Which, I mean, you have to assume for a video game with that kind of profile, so he would have been hoping for it to do a bit better than that. Well, Dan from Devon is kind of outraged. He opens with a motor racing joke. Hello, O'Rooge and Radion. I'm sure people who know motor racing will get that gag. Dan says, I'm sure people who know motor racing will get that gag. Dan says, I'm a sim racer, lifelong car enthusiast, track day driver, and cinephile.

First of all, I was really frustrated with the direction and cutting of the racing sequences in Gran Turismo. One of the key films of the film explores is escapism through immersion. Archimata Quay's Jan states that he loves driving because it gives him the sense of the world slowing down around him However, for the viewer things never really slow down. It's just flat-out montage

Secondly, Jan's story is incredible But he was not the first to grant to his mogul graduate Nor was he the first grant to his mogul graduate to race with some success, especially at Le Mans This is quite an ironic point to reflect on, especially when you consider how the film highlights a decision to choose one driver over another based on marketability. In addition to this, the shocking event

that occurs in the Second Act and becomes Jan's crossing the Rubicon moment in reality happened two years after Jan raced at Le Mans. In conclusion, there is so much more I could rant about from a car from cars racing in categories which they aren't legal to race in, to illegal racing overtakes which seemingly go unpunished. Ultimately, I'm just left bewildered at how a movie about a video game which then argues that it's a simulator due to its realism could be so blatantly unrealistic. That's a 10 grand turismo

Which originally I think was just called grand turismo, but now it's grand turismo based on a true story Yes, it's separated from the actual video game at nine It's elemental at eight still in the top 10 in the US as well mission impossible dead reckoning part one I think we've probably said plenty about that one already and then then at number seven and at number eight in the US, it's Haunted Mansion. Yes. We've got an email on this one, haven't we? Yes. This is from Joshua, dear Grimm and Grinnin. Do you get that? This has to be a reference to some Disney lore thing, right? It's the, from the Disney theme park, I think music for Haunted Mansion the Ride. And Joshua says, at the weekend, we took our weekly trip to the cinema

to watch Haunted Mansion. Cinema visits have become a regular occurrence for the family since my dad's rare diagnosis of early onset Alzheimer's in 2018. He was 56, I was just 14. Since the diagnosis, the cinema has become a crucial way to spend time together when other father and son activities are limited. In the darkened seats of the big screen, Dad's disability, Lanyard, fades into darkness,

and film-induced laughter and gasps temporarily overshadow the struggles from Alzheimer's. So, as a huge Disney Parks fan, the haunted mansion was one of my most anticipated films of the summer, if not the year. Does the film have its flaws? Most certainly, it's being released in August to boost October Disney Plus subscriptions, probably. But for me, none of this mattered. International trips proving increasingly difficult for my dad's care needs.

Considerably so, in a theme park packed with crowds. It's likely that I'll never have the chance to visit a Disney theme park with Dad again. With all of its abundance in Easter eggs and reference, at least the film allowed us to once again be welcomed as foolish mortals, return to the stretching room and pay a visit to the 999 happy haunts that reside in the mansion. Regardless of the quality, I welcome Disney's ongoing project to turn their theme park rides into films.

If it means the theme park rides can now come to us via the medium of cinema. I mean, it is a brilliant email from Joshua and it's, I think it's sometimes easy to forget that we don't all watch films for the same reason. And we don't all want films for the same reason. And we don't all want the same thing from films as well. So whatever we think about haunted mansion, and yeah, I thought it was fine, but not a great film, it clearly has its benefits for people like Joshua and his dad, and that's a wonderful thing. Goodness. I'm very delighted to hear that he Joshua was able to get that out of it. I think what's peculiar about haunted mansion is much more so than the parts of the Caribbean films.

The Easter eggs that have been drawn from the fairground ride are absolutely central to this. And I mean, you saw the look of total blankness when you read it, dear Grimm and Grimm thing. I mean, this is Disney Nerdery on a level that I can't even begin to approach. There's so many points in the film where I thought, okay, this clearly means something to people who know this ride inside. And I gather, Hunter Manchin is one of those rides where people do just, you know, they learn to script, they learn the songs, they know

exactly every creature that's going to jump out, every juncture. So yes, maybe it works in a way for the fan base that it does not for someone like me who is going in hoping for a part to the Caribbean-like family adventure, but in a haunted house. I feel like it doesn't seem to work for anyone from what I can tell. Is it number five in the UK?

Hold on, we have a number six for them. Yeah, sorry. Which is, which is working. Listen, I was getting ready to square up to you here because this film works beautifully. Thank you very much. Which is. Teenage Mutant Ninja Turtles cool on Mutant Mayhem.

Which, have you seen this? I have not. I can't believe how good this film is. Because all the other Turtles films are abomination. I remember I heard you talking about it. I mean, you were going back to the original one last week, weren't you? And I remember going out and buying Turtle Power

by Partners in Crime. We all did it because of the cassette tape. I had the 12-inch record of it, and I think, and he's not here to defend himself, but I think Simon Mayo might have championed that song on Radio One back in the day. I think you're right. I think you're right. Yes, I went out to buy that, not just even the single, but the album. Yeah. I'm sure I remember me all going on about it. Yeah. Okay.

So that's at five, six Teenage Mutant Ninja Turtles Mutant Mayhem. At five, right. So this is the film I was talking about when I said, no one seems to like it. Mark certainly didn't do a great review of it last week. He wasn't a fan. He did a very funny review. Very funny, I mean, I'm always amused

when Mark mentions Mr. Happy. That always makes me smile. There were lots of mentions of Mr. Happy last week in his review of Straes. So let's run through a few of these messages. We've got quite a few in. Obviously, people listen to Mark. He said it wasn't very good, but people still went to see it anyway, so they could then say, I agree with Mark, it's not very good. Such as Bob McLeod went to see it before watching the review, actually. And I have to say, Mark is spot on. The first 20 minutes was enjoyable. The next 20 was okay. And then the amount of swearing and use of schoolboy humor just became tedious. For the first time in 2023, I didn't want to make it

to the end. I didn't actually make it to the end. Sad because the premise of the story was actually really good, but was let down by really bad script writers. And this is from Mother Player. It's already disappointing enough to have seen this marketed for months. And now find out it's just another Lord Miller name drop rather than direction. I do worry that Lord Miller, I'm a big fan of them, they might be spreading themselves a little thin. And actually I was looking up to see when they did last direct a movie. This is one they produced, Strais. It was back in, I think it was 22 Jump Street and the Lego movie really did around the same time. But since then, it's been productions

and Christopher Miller's now working on the after party, which is a show on Apple TV Plus. But yeah, I would like to see them return perhaps to their Halcyon days, the great days of the Lego movie. Yes, I think, I mean, the thing is, Lord and Millers absence comes in tandem with this total lack, and we'll talk about this later in a show connected to theatre camp, the total lack of straight comedies in cinemas. I mean, there just are almost none. I was trying to think how many I'd seen since, so not, you know, horror comedies or action comedies or some kind

of spin on the format, but just a film that's setting out to be funny first and foremost. So since cinema's reopened, Strazers 1, no hard feelings. No hard feelings is one. And the lost city is, I mean, it's not that actiony. So arguably that's one as well.

I think that's it. That's three films and three years. And then a fourth this week, which we will come to. And the ones that the other ones have just not done anything, you know, like joy rides came out a few weeks ago. Oh yes, no joy ride, of course, of course, but people don't go and see them, you know, they're not popular. So that's at five, strazed at four, number six in the US, four in the UK. Now, this film seems to be getting a lot of discussion considering what it is.

The Meg 2. So, I know Mark has talked a lot about this. This is from the brilliantly named Dr. Olaf Ringelband, who says, I watch Meg 2 last week in Washington, D.C. in a 4DX cinema. You have been to one of those? No. OK. I mean, it's the mexto.

I mean, if there's one film, you're going to do 4D X for. This makes sense. He says, my childish excitement about a rocking movie chair blows of cold air to the face. And stage fog in front of the screen was a perfect match to the movie's silliness. I loved it. Dr. Oda Frengelband, PhD in psychology from Hamburg in Germany. Number three, it's a new entry.

It's the US number one over here. It's a new entry at number three, Blue Beetle. Got an email from Gerard, this Scarab and Mouss. Thanks. Thanks, CGT. Well, the good lady, finance administrator, Irrindor's, and her nephew were at the footy. That's a big sentence. Saw me taking Blue Beetle at the popcorn stall and nearby, which I have a membership card for. Aside from the usual expected

shooty-crashy bangy that's part of the traditional comic book movie, I was left pondering two questions. One, for large chunks of the film, was this the single most annoying and mug-for-camera shouty family ever in a comic book film? And more seriously, the crying scene in the third act who's driving the boat. I will avoid that second question, just spoiler issues.

Have you seen Blue Beetles? No, okay. Again, I meant to catch up with it, but I got in the way. Yes, I love. George Lopez plays one of the family members. He plays the uncle with his fantastic beard and mullet. And he's very entertaining. I found the family very entertaining. But yes, they are definitely shouty.

Well, ultimately, I was a little disappointed with the film. I think partly because I was looking again at the poster, which has a real sort of a drew strues and feel about it. You know, Rachel E. T. Look, Fippeweave colors and yellow. Exactly, and Pink Neon and all this kind of stuff. The logo, it's actually just like the purple rain logo, the Prince logo. So I thought it would have that kind of style, that sort of E. T.s retro feel to it, and it really doesn't seem to follow through with that in the film. Now, the film is fine and it's a great kind of social punch to it and it really doesn't seem to follow through with that in the film. Now the film is fine and it's a great kind of social punch to it which I really liked than a lot of DC movies don't have, but I think it was a little bit disappointing stylistically. It's a new entry in the UK at number

three, Blue Beetle. And then it's two and one, what's your reckon? Any guesses? We should know that the film at number two has now passed 50 million in the UK. Pressive. Which means it's made more than the dark night. So this is a three hour, five minute. I think it's Warner Brothers biggest ever filmed or something like that. It must be the biggest ever three hour biopic of a number of physicists. And Mike, who would have thought, I mean, even with Christopher Nolan's name attached to this thing?

I mean, his Oppenheimer, by the way, we're not talking about Barbie. This is Oppenheimer. But it also having seen it and enjoyed it, I still didn't think that. I mean, I came out of it thinking, this is going to be my favorite film of the year. Yeah, I hope other people like it. But he did see that. And he had that with Duncurk, again, which was the summer film, right? Yes.

And I watched it thinking, I love this. Is this a summer film? Are people want, will people want to go and see this in the summer? And of course they did. And the same is now true of Oppenheimer. So, so really the rules don't apply to Christopher Nolan. Do they? I mean, why should they? Exactly. And then at number one, of course, in Everton. Was it five weeks now at the top? It's actually been knocked off the top spot

by Blue Beetle in the States. But over here, it's still number one, barbie, of course. Coming up on the show, Louis Garelle talks The Innocent. This episode is brought to you by Mooby, a curated streaming service dedicated to elevating great cinema from around the globe. From my Codic directors to emerging otters, there's always something new to discover, for example. Well, for example, the new Aki Karri's Mackey film, Fallen Leaves, which won the jury prize at CAN, that's in cinemas at the moment.

And if you see that and think I want to know more about Aki Karri's Mackey, you can go to movie, The Streaming Service, and there is a retrospective of his films called How to Be a Human. They are also going to be theatrically releasing In January, Priscilla, which is new, so if you're a couple of film, which I am really looking forward to since I have

an Elvis obsession. You could try Mooby Free for 30 days at Mooby.com. Slash, Kermit and Mayo. That's M-U-B-I.com. Slash, Kermit and Mayo for a whole month of great cinema for free. With banking packages from Scotiabank, you can put money back in your pocket.

That's how Marcus was able to invest in everything he needed to launch his podcast about his pets. Welcome back to PetGasd! Visit ScotiaBank.com slash welcome offer, Scotia Bank conditions apply. It's King and Colin in for Mayo and Kermode and the innocent is out at Cinemars this weekend. Louis Garell, co-wrote and directed it. He stars in it too. You probably know him because he's a massive name in French Cinemars and European Cinemars worked with so many respected European directors, Bertolucci, Polanski, Christoph Onare, his own father, director Philip Garell. And you might have seen Louis recently

in Greta Goig's Little Women. And he also played King Louis the 13th in the recent three Musketeers adaptation as well. But he directs films as well as acting in them. And in the innocent, he plays Abel. So Abel's mother, Sylvie, teaches acting to prisoners in Leon, and right at the start of the film, we see that she's actually in a relationship with one of them, Michelle,

who's about to be released. And Michelle and Sylvie get married. Abel is not happy, he doesn't trust Michelle, but finds his life entwined with Michelle's in ways he couldn't previously imagine. And you can que mon interview avec Louis Guerrell après cette clip, de l'innocent. I didn't tell you, I met someone. Really? Yes. It's the same as the last time, right? I can talk about the things we did. No. Don't move, they put on a lot of stuff. What are you doing?

They're eating, they're doing it. We're going to put it on the parking. Let's go. It's going to be discreetly sweet. I know what I'm doing. You don't put too much of it, don't you? Yes. That was a clip from the Innocent and I'm delighted to be joined by its co-writer, director

and star, Louis Guerrero. Hello, Louis, how are you? I'm fine, I'm very fine because I'm in Corsica in the South of France, it's a small island. Absolutely, beautiful. So can you tell us what you're doing there or is it a personal private holiday and you don't want to discuss it? No, no, it's a personal holiday. But you know, if you go to the North, of course, it gets better than the South. And I mean, the middle of the course, like, practically the South. But don't go in the South, going on the North, of course, it gets better. Listen, we're getting some holiday recommendations from you as well as film chats.

Well, thank you for joining us during your holiday. That's very kind. The film, the innocent is wonderful. So congratulations on that. Thank you very much. We're in this interesting situation, Louis, because it's already been a big success in France at the box office and at awards ceremonies. So are you, do you have any anxiety about how it will be received here in the UK or are you confident that the British audiences will love the film as much as they did in France? Yeah, this is a major interrogation. When you go to a different country where you shut the movie

because you have to understand if the if the you more because I think the movie is very humoristic also there is it's a drama but it's's also very, I guess, I guess, and I hope it's very funny. So the movie travels a little bit like in Italy, in Spain, in the US, in everything, but I can't wait to know what English audience will think about it, and we'll feel about watching the movie. But of course, I'm always always anxious because it's very also hard

for French movie to go in England. I don't know why you're very, you're a tough audience. I don't, I mean, this, this is also your reputation. So now I'm going to come like three days to present the movie, like do private screening and interviews, but I can't wait to know if they're going to kill me or if they're going to kill me without like a smile watching the movie. This would kill me, you know? I mean, I'm only one British person, but when I watched it, I was laughing out loud, so I'm sure that that will be replicated in audiences around the country. But and you have nothing Italian inside you? No, nothing whatsoever. Did it play very differently in Italy then?

No, no, because I was making the movie thinking to the Italian comedies of the 60s and the 70s, you know, from Dino Risi and Monitiani, because I think there is this tone that I wanted, because the movie is partly autobiographical, you know, I started with a very private story that happened to me when I was 18 years old because my mother married a guy in jail and my real mother. I mean, so this is where the movie began, the story of the movie began, but I didn't want to be so dramatic and tragic.

So most of the movie is made with a humoristic tone. Like the Italian knows, the Italian knows exactly how to present like a tragic story with a with a point of humor all the time, you know, every five minutes There is a small gag or something like this and this is how I try to make this movie and what's it? Easy for you comfortable for you to be aut autobiographical or did you want to hold back a little bit? Strange, the not the all movies of Tobias Graphical of course because I wanted to run away from my private life. So there is a lot of how can you say that cinematic movements in the movie were not realistic at all. But strangely, it was much more easy for me to know

that I knew my story and that I had my story and my hands. So I was more or less more confident that for the other movies that I directed because I knew my subject. You know, this is a romance between my mother in the film and the guy who just get out jail. And I knew this world, strangely, this world of people outtake the jail.

You do, went to jail for years. So I knew I subject. So this was also very fun and joyful for me to make the movie. So your real mother worked with prisoners as an acting teacher. So how involved were you with that as well, presumably you were a teenager back then, a child? Yeah, when I was 12 years old, 13 years old, you know, people were coming out jail and coming at my house to have dinner and everything. So, of course, I was very curious and very, it was like a, it was movies at home, you know, because people even, what a guy passed like 10 years in jail,

he still have this kind of legendary stories that he loves to tell, and even they love to say lies and everything to appear as heroes, you know. So I was like this at home, they were full of even women in jail, because my mother went in jail for and teaching for women. So I had this chance, I can send out to cross these different worlds in my youngness. But the day I realized that my mother felt in love with a guy in jail, I was very anxious because they did not know the guy and I couldn't go to the wedding because I was 17 years old and when you're not 18, you can go to a jail, apart if you do a robbery.

But I couldn't go to the wedding. So I met my stepfather one year after the wedding when he went out to jail. But actually it was a very nice guy, full guy. I don't know what he was telling me stuff that I didn't exactly know if it was real or he invented everything, but I love them. And how was your real mom? How was she when you told her you wanted to write this movie, when you wanted to make a movie that was partly autobiographical. She is also a director and sometimes, you know, she gets inspiration with real life.

So we were in a normal situation, doing a movie with autobiographical experiences. But it's better that after when she was watching the film at Cannes at the Cannes Film Festival, because the movie was the premiere of the movie was projected for the birthday of the festival. So in the in the movie theater was full of legendary directors like David Cronenberg and Guillermo del Toro and Jacod Gia, everyone was there. So it was it was like a real panic because if the movie was a failure, it was like an international failure.

But then my mother was there and she was there and she was seeing the movie for the very first time. So I was much more panic by my mother, my mother's presence. And then finally after the movie, she told me, but did you suffer like this? I said, no, no, just a movie. She said, okay, but she we never talked about the movie so much But she just told me that she saw it like seven times with friends I think she was pretty proud to to the film because she loves to love I mean she teach me the the her sense of humor and the and the movie is full. I hope of sense of humor So so I could her I could hear her her laughing during the screening and it was very

... I think it was a very moving moment. And when you have a family like yours who are so deeply entrenched in filmmaking your father as well and your sisters working in the movies and you grew up around it, did you ever have any other careers in mind aside from acting and directing? No, I wanted to be a doctor, actually, a surgeon, the name in English, a surgeon, a guy who was surgery for her heart, you know, what is the name? Yeah, but then I realized that heart surgery and heart surgery. But then I realized that I had so many panic attacks and my hands were shaking.

You know, they were shaking all the time. So I couldn't do that. So I said, okay, I'm going to follow the... Because my grandfather actually was an actor, a very good actor, and then I told him what I was 15 that I wanted to become an actor and he said to me, this is not like a real job. So if you want to do that job, you have to do like a drama school, the National Drama School. So prepare yourself to do the competition of the drama, the National Drama School. And this is this what I did.

It's an interesting thing that in the innocent, which isn't the first film you've directed, but all the films that you've directed and which you've started, you play a character called Abel, Abel, as we'd say in English. So tell me about using that name and who you think Abel is. You see the same guy in all the films or different or how does it work? No, I know that the play, when you are directing a movie and playing it, it's a bit of confusion for the audience. And people who knows me has an actor and they know that I'm the director, but also the actor of the film.

So every time I name myself Abel, maybe to not to have this clear that this is my avatar, maybe this is my avatar, and also to pay a nomad, maybe to Nanymoreti, something like this. So I think he named every character of Michele in his films, you know, so maybe I wanted to imitate animority doing this, but there is not, not, there is no specific explanation about the fact that I'm named myself Abel, but I think it's easier for the audience. And also fun to be honest, also for me, because if I was named myself Jean-Jacques Artur Thomas, a different name each time, it would be much more difficult to remember that this is my name.

So this is why. Yeah, if you only have one name, then it's difficult to forget. Exactly. Exactly. Tell me about filming in Leon because Leon plays a very big part in the movie. Of course, I'm looking into Leon and researching Leon as a city. It's actually where the Lumiere brothers started. Pretty much in Bensons.

Yeah. Cinema. So it's a very cinematic city. Why did you want to film there? Because the three movies that I directed was in Paris. I shot them in Paris and then I wanted to change a little bit. And I wanted to feel free from filming Paris Paris because every time that I was filming Paris I was searching places that were shot actually by other directors. And then I decided to shot in Lyon because

I don't know that's the idea and I could act as a tourist. Even if I was shooting in the most touristy place, it was better for the film because actually they are much more cinematic and cinematographic. And I wasn't ashamed to film the most touristy place in New. So I was much more free than if I was shooting the film in Paris. And also because I was happy to discover a different city. Like you know, with the Alan, when he was shooting

in various places in Europe, you know, you can see that he shoots as a tourist and even like in James Bond, you know, in the shooting in Paris, they should close to the F and Tower. So this bit, they're not ashamed to close the F and Tower because everyone knows the F and it's also fun to have the F and Tower in the movie. So I shot in the most touristy places in Lyon and I hope that people, even in England, we'll have the desire to visit Lyon. It's a beautiful city. And so you know, when you see a movie,

for example, when I watch a movie of Almodova, I love to go to see an Almodova movie because I'm gonna see Madrid, Barcelona, and everything. So I hope the audience, I'm gonna be pleased to see a French Barcelona and everything. So I hope the audience are going to be pleased to see a French city like me. Let's talk about the Cesar Awards, the most prestigious French film awards. And this movie, the Innocent, had multiple nominations.

It won for supporting actress and screenplay as well. Is that a night out that you can enjoy, Louis, when your film has 11 nominations? Can you enjoy the night and relax? Of course, because I was very proud I worked with young people, for example my editor. Unfortunately, I didn't win the stanza, but it was his first nomination. So I was super proud to go with him and also my DOP, get a nomination and also my, I mean, a lot, lots of people who are pretty young get the first nomination at the Cesar. So that's why I enjoyed the party very much. And also when I saw Queenie Merlon, who won the supporting actress, I was much more

than proud because in the movie, Queenie Merlon, you know, she played on tar on and also portrait of the lady and fire and she she was pretty tragic and austere as an actress. She was very dramatic in the different roles that she performed. And in that movie, I pushed her and in the beginning of the movie, I said, you have to be pure less and you never did it, you know, before. And she was a little bit stressed in the beginning because she told me, are you sure I'm not going to be ridiculous? And I said, no, no, follow me because I know that you're very funny. And then she was more than funny in the movie and people adore her and then they took her happy. And we're next going to say her in a new version of Emmanuel,

I think. Is that right? Yeah, I think it's going to start in September, October. It depends of the understrike. And we first saw you over here in the UK. It's 20 years ago, now, Louis, in Benado Bertolucci's The Dreamers alongside Ava Green and Michael Witt. And certainly a film when it came out 20 years ago that caused quite a lot of discussion. But ultimately, a wonderful love story to French cinema, French new wave cinema. What are your memories 20 years later of making that movie? The first time we saw it. It's very strange because the movie and the great success pretty all over the world. Today I can see young people who in the streets, they stop me, they say I love the dreamers and they're 20 years old right now. So, but not in France. It's very strange.

I mean, the movie was telling the story of a May 68 in Paris and everything, but the French people didn't see that film in Italy, in Iran. For example, I can see Iranian people on the streets who know the movie, even if the film is prohibiting Iran. You know, it's very strange because I was pretty virgin. I was cinematic, cinematographically virgin. And it was my first experience on movie. And it was with Banando and Eva.

It was like a dream. I remember the tragic moment was the last day. I remember Banando Bertuluci said, the dream is over for the last scene the last day of the film and I started to cry because then I realized that it was just a movie but I felt that that time that it was real I don't know I felt that I was very friend with Michael pit and also eva and the D.O the European everyone. It was a fantastic shooting. Louis, it's been an absolute pleasure. The innocent is out in the UK on Friday for everyone to see and it's just wonderful. So thank you so much for joining us.

Thank you very much. They're joining us to invite me. Thank you. Louis Garelle talking about his new film, The Innocent and his Robbie Collin with his thoughts. Yeah, well, a lovely interview. I have to say I was stunned to hear that this was an autobiographical story because to me watching it, it felt like the whole thing

had spied out from one excellent, but very constructed idea, which is this, I suppose you'd say it's the Film Central Act, which is that you have two people with no acting experience whatsoever. This is within the world of the story, of course, Naomi Merlough and Lou Grave have got lots of acting experience,

but their characters have none. And they have to perform a convincing distraction during a truck heist. Now, I don't think it's too, I don't think it's spoilery at all to delve into this. I think we're allowed to see what they have to pull out. So basically, once Rochdy Zem's Michel integrates himself into Abel's

family life, he helps Abel's mother set up a florist. But in order to secure the premises for this florist, he has to get into some slightly dodgy dealings with organized crime. And one of these, the central thing in a film is that he has to pull off a caviar heist. Now stealing Hock Quazine has to be the most French premise for a stick-up film imaginable. But this is what he has to do. While this truck delivering fine seafood is parked at a service station and the driver is in having his

very, very French service station meal involving steak freets and eel flotante, which is a cut above the KFC that we stop for. He, Michelle has to then suddenly unclip her the back of the lorry and remove the caviar cases and make us escape. And in order to detain the driver in the truck stop for long enough for this to occur, Abel and Clemall, who's played by Númermero Lón, have to stage this very elaborate lover's tiff that the truck driver is going to be becoming trans with. And as Michele says, you know, you need to give him things that aren't in his life, you need to give him a bit of sex,

you need to give him a bit of violence, a bit of drama. This is going to completely captivate him. And I suppose it didn't strike me at all, but the fact that this is in Leon and they're putting on this kind of first performance ever, there's a kind of a weird synergy there with the Lumiere kick-starting of cinema thing anyway. This entire sequence is so well done. I mean, even from the rehearsal scene that precedes it is hysterical when they're trying to work out how to improv with each other. And it turns out Michelle is himself, because he does the workshops and, or I've done the workshops in prison when he met Suvi,

is this incredibly accomplished actor in a real natural. There's a lot of great humor that springs from the two of them not really ever fully understanding when he's pretending and when he isn't pretending. And then when the scene itself kicks off and they have to give this performance, they really convincingly play people who can act, but then that they warmed the task while they're doing it and also in the process each other. They're not lovers, they're colleagues initially, they both work at the same aquarium, which is such a great kind of off the wall location choice. And you know, gonna scare our absolute milksit

for all the visual loveliness that that can provide. You know, you have scenes where there's fish swimming or in sharks and things that it's all very well handled. But anyway, you have this great gripping funny centerpiece. And beyond that, it felt to me like the rest of the film had been built as a kind of a scaffold to hold this thing up. That's why it really surprised me to hear that actually the truthful bit, the bit that this sprang from, is the idea of the mum marrying the man in prison and then him coming out and the

son having to reconcile to this. Because all of that, you know, natural, true life stuff feels like it was infected in order to hold up the bit that was invented, which to me felt like the first idea. Now, look, I think that, as I say, the performances in this of people who can act are wonderful. I think Noomi Umaralon doesn't surprise me whatsoever that she wants to say is she's so good in this. And as Louis said in the interview, you know, we've seen her play Intense in Tar, Portrait of a Lady on Fire, Paris, Thirteen, Districts as well. You know, these really kind of soul-scaring roles. And to see her play Girl Next Door, Girl-Lessness in the first place, I really threw me. And then when she kind of discovers her own acting expertise deep within during the truck high sequence,

it's incredibly satisfying. So look, I will say that I think the good stuff in the middle, absolutely, this film is worth watching for that alone. Some of the surrounding stuff, maybe a little bit off to coin a French term. That's not a French term I've heard since school French. Explainly, that's the word we all love to use in school French lessons. I have written on a piece of work once in Red Pen. But yes, look, this is not a real, I'm not writing Red Pen all over the innocent. I think this is a really decent film. But what surprises me is how much the made-up bit felt like the real reason to make it, and the real reason to make it felt like the made up bit. And a lovely use of 80s Europop French pop on the soundtrack. I mean, I had the old

shazam out to phrase I never thought I'd use, to check what these songs were. I mean, not songs I knew, but by performers like Cheryl Blonken, Herbert Leonard and Catherine Lara, these wonderful kind of evocative 80s French pop songs. So that is the innocent, Robbie, it's gonna be time for the ads in a minute or two, but first, do you wanna join me in the laughter lift? Not really, but I suppose we better. BELL RINGS

Hey Robbie, hey James, time to test your knowledge of charismatic mega-former. Bring it. What's the difference between an Indian and an African elephant? One of them is an elephant. Think about it. Yeah, okay, got it. Next one. How'd you get down from an elephant? Oh hold on, come on you must notice something.

Yeah, it's something to do with feathers isn't it? Go on. You don't, you get down from a darkness, okay. I've got a very rich friend Robbie with an enormous house and I bought her an elephant for one of her rooms. She said, thanks and I said, don't mention it. That's, I mean that's a good one. That's a good one. Hey Robbie, did you get any...

There's another one. Yeah, there's more. Did you get any holiday reading done? I mean I certainly did. I read a book called How To Avoid Getting Ripped Off. It's the best 250 pounds I've ever spent. What's still to come? What's still to come? Something funny! ripped off, it's the best 250 pounds I've ever spent. What's still to come? What's still to come?

Something funny, the theatre camp. We'll be back after this, unless, of course, you are a vanguardista, in which case, we have just one question. Two men are in a desert. They both have backpacks on. One of the guys is dead. The guy who is alive has his backpack open, and the guy who is dead has his backpack closed.

What's in the Deadman's backpack? Here that sizzle? That's McDonald's juicy and delicious quarter pounder with cheese. Yeah, I'm hungry too. So what makes it such a hit? Spoiler, it's made with 100% Canadian beef. Yeah, that's right.

Sounds delicious, doesn't it? Just imagine how it tastes. The quarter pounder with cheese, only at McDonald's. Metrolinx and crosslinx are reminding everyone to be careful as Eglinton Crosstown LRT train testing is in progress. Please be alert as trains can pass at any time on the tracks. Remember to follow all traffic signals, be careful along our tracks and only make left turns where it's safe to do so. Be alert, be aware, and stay safe. And the answer is, of course, a parachute. Leak.

But very bleak. Very bleak. This will cheer you up. This is an email from Will in Furric. Hi Mark. We're lucky. I in Thurick. Hi Mark. We're lucky, I love it when people call me Mark. We're lucky enough, we were lucky enough to see Mary Poppins at the BFI South Bank recently

for Disney 100 and it opened my eyes to something I hadn't realized before. And that's how differently certain films can affect an audience depending on what age they are watching at. Now I had not seen Mary Poppins since I was a child and at the time I saw it just as a film about a nanny looking after two children, but it's so much more than that. I realized it's ultimately about a father neglecting his family in favour of his work, but thanks to Bert's words during the man has dream segment, he comes to the realization

that whilst you can always make money, the quality time you have with your children when they're small is something you'll never get back. It was great to see Mary Poppins on the big screen with a fantastic audience who all laughed and cheered and then clapped as the film finished. One of my favourite cinema experiences and one I recommend seeing. If you can, before it leaves the BFI at the end of August, love the show from Will in Thurick. Thank you, Will. I mean, that's saving Mr. Banks, isn't it? That's kind of what that movie, if you haven't seen it, will

absolutely recommend it. That's kind of what that movie is about. Thank you for that one, Will. Let's talk about theatre camp. I'm going to theatre camp to comedy. I'm going to start this review by invoking a name that should not be invoked lightly with one tox of comedy. That name is Christopher Guest. Okay, right, yeah. Now, big dog. I know, I know, big dog, big claim.

Can this film be mentioned in the same breath as the Christopher Guest? Machu entries, I think theatre camp can. Okay, so I like the Christopher Guest, mockumentaries, I think theses account can. Okay, so I like the Christopher Guest films. So waiting for Goughman, Best and Shoewa, mighty wind. This is a mockumentary, and the idea behind it is that the filmmakers have, or the pretext behind the, the make of the real theater cap film, is that the documentary filmmakers have decided

to profile a woman called Joan Rubinsky who's played by Amy Starris, and she's this New York theater land worthy who founded and has been running for years and years and years, this summer camp in upstate New York for drama crazy kids. However, one day into the filming of the documentary, Joan is at high school production of By-By-Burity, because of excessive use of a strobe like has a fit and falls into a coma. And the crew rather than calling off the shoot, they decide to keep filming to see how this year's edition of the theatre camp manages to cope in her absence. And the answer is appallingly.

Although it's not ever particularly clear if things would have been much smoother had she been around. Here's a clip of the campers in action. Those pressing matters are in the main stage. Right now, the psychorama is buckling. It needs to be re-anchored. We're going to need to prioritize the remaining equipment for the musicals,

which means the straight plays are going to have to be acoustic, which is actually how they do it on broad. But I just cut you off real quick. It seems like you got a pretty good handle on this. So I'm just going to take understanding a word you're saying off my list and let you take it from here brother. Okay. Quick question now what's a straight play? There aren't musicals and then there are straight plays. So then what would be a gay play? I guess I'm musical. Cool. So the guy asking the questions there is Joanne Suntroy, played by Jimmy Tattro, who's

a business vlogger, I.E. unemployed. And he sort of drafts himself into oversee how this camp is being run in his mother's absence. But he's not actually one of the teachers there. So the two of the main teachers that this focuses on are played by Ben Platt and Molly Gordon. Molly Gordon's one of the co-directors of the film with Nick Lieberman. And also the two of them wrote the film with Lieberman.

And they play Amos and Rebecca Diane, who are two coaches, they grew up attending the camp every summer as kids. And then at some point in their adulthood, they just up attending the camp every summer as kids. And then at some point in their adulthood, they just slipped across the people teacher divide here. And they're obviously heartbroken by Jones condition. And they decide that this year the big summer production at the camp is going to be a musical

tribute to her life and achievements called Jones still. So they set about writing and rehearsing this with the kids while Troy is buzzing around on the sidelines, trying not to let the entire place sink to its knees, which is proving increasingly difficult because the Camp Next door, which is this incredibly well-financed, well-run thing that's backed by this big investment consortium, among whom one of the investors played by Patty Harrison, who starts patrolling around the theatre camp to kind of see if this is land that they can possibly buy up. So the future of the entire enterprise while Jonas and her Kuma feels at stake. Now, I will say I have not laughed so much in the cinema. At first, I was kind of thinking, well, for months. Honestly, since the pandemic ended, I thought this film was hysterically funny.

Would you say it, you appreciated it more because you have experienced this kind of world yourself? I think, I mean, arguably there's a little bit of that. I kind of did a bit of high school drama, and I went to Woodwind Camp as well, which films can... I'm just thinking of a Valeson Hannigan from American Pie now. Oh my goodness. Listen, if that stuff was going on, I missed out. But you know, the second bassoonists were not necessarily conscripts into that kind of stuff. But you know, the, yes, I suppose so the frame of reference is that I do have a bit of that. But I was never, I kind of a big stage school drama kid, you know, with aspirations of appearing

in the West End and you're who'd belt out some time on command. The kids in this film absolutely can do all of that and they do it so delightfully. I think the thing is, the film is such a scream, like Christopher Guest films, it's so funny because it totally demolishes its subjects. I mean, it is complete scorched earth approach to comedy, but it does it in from a position

of such affection and such obvious love for this environment and the people that inhabit it. You know, like MIT wind, I can't listen to American folk music now without thinking of Mitch and Mickey or any of the other groups in that film and thinking this is ludicrous. But after watching MIT wind, I loved American folk music much more so than than I did before seeing a film and these are are camps strikes that exact balance. I think also the humor in it is all springs from character. So the kids, I mean, the kids are all obviously want to be thesps themselves.

And often I think we struggle with child performances where kids are very on and very sophisticated and very capable of launching it into this big area from Sweeney Todd, which are the defined Gravity from Wicked, of course those songs are performed. But the thing is that the mockumentary framing really nicely undercuts that, because you see the kids being on, but then you also see them being off. So you're not kind of asked to stomach therapy incredibly stage-screwly children running around all the time, and

that just being how the film is. You get the break from that, which is lovely. The way that the grown-up characters are conceived as well, I mean, it's that weird Christopher Guest like mix of, you have never seen anyone like this before in your life. I mean, they are just completely sweet, generous bananas. But within seconds, you know exactly who they are and you understand them completely. And so I owe Edabari from the Bayer. She is drafted into play, so she plays this supply teacher, essentially covering for a lot of shifts

after Troy sacks a lot of the staff because he's trying to cut costs. And transparently, she is filled her CV with lies and there's no idea what she's doing. That could really easily be a stock character, okay? The bumbling supply teacher. But the way in which Eddie Berry plays her is so specifically odd in every scene

that it's incredibly compelling and incredibly funny. And I think also having been tenderized by this great comic material for, you know, 80 or so minutes, when it comes time to deliver the musical performance itself, which of course caps the film, just as the big concert in a mighty wind cap, that film or the dog show and best and show, I was really moved. I was sobbing away, you know, after like, you know, an hour of crying with laughter, I was crying with crying, and it was just such a beautiful end to the experience. Look, I can honestly see myself watching Theosicamp again and again and again,

like these Christopher Guest films. It has such kind of built in longevity. It's even quite hard to quote the jokes from it because they all spring from character. You know, one of the funniest things in it is how Ben Platt holds his hand up to stop the kids applauding after Molly Gordon, tries to improv her way completely hopelessly

through a musical number. And you know, you describe that and you think, okay, fine. But to see it happening, I was sliding it at my seat when that was going on. I can't recommend this film highly enough. If the subject matter strikes a chord, if it doesn't strike a chord, I don't care, please go and see this. I chuckled as well, watching it, maybe not as loudly as you were. But the one thing did strike me, and I I can kind of answer this question myself, but I did think I'm

this is a Disney film and it would sit very much at home on Disney Plus and of course I always want films to be seen on the big screen with champions of the big screen of course, but I don't I worry a little how it will survive on the big screen. Whereas on Disney plus, it seems like it's a no-brainer to go straight to streaming. It's not, it's going to be at the big screen, but I'm sure eventually it will end up on Disney plus. Yeah, but goodness, comedy if this quality always plays so much better with an audience. I would say, you know, if you're, if a tall appeals, please go and see it with a crowd. Time for your correspondence, email us correspondents at kermodeandmayo.com

Here's this week's Louie here from Wiggin and Lee Short Film Festival. Our volunteer on festival is back in September with an incredible program of short films being screened at Lee Film Factory based in the stunning grade 2 listed spinners mill in Lee Greater Manchester. Please join us on the 15th and 16th of September. You can find the full program and tickets at Wiggin Lee Film Festival. Please join us on the 15th and 16th September. You can find the fourth program and tickets at wiganleefilmfestival.org.uk. Thanks. And thank you. That was Louis from the Wigan & Lee short Film Festival

plugging their event taking place this September. So please send your 22nd audio trailer about your event anywhere in the world to correspondents at kermode and meo.com. And that's it for Take One. This has been a Sony music entertainment production. The team was Lily Hamley, Ride Omera, Gully Tickle, Beth Perkin, was the assistant producer. Mickey Movies wrote the guest notes. Hannah Talbot was the producer and Simon Poole was the red actor. Robby, your film of the week, is theatre camp. Yours? My film of the week will be the innocent.

And of course you can hear, take two later on today, and take three on Wednesday. Robbie, thank you very much. Thank you. you