When presenting a biopic whereby the subject is an esteemed artist, there’s an even greater pressure to ensure the cinematic reimagining of their life is an aesthetically gratifying one, and auteur Daniéle Thompson’s does not disappoint, with an alluring, picturesque backdrop worthy of the great painter Paul Cézanne. Sadly, any such homage paid to the film’s supporting lead – the revered, naturalistic novelist Emile Zola – falls short, with a hackneyed screenplay that does not do justice to the great wordsmith, which comes as surprise since it’s penned by Thompson, who was once nominated for an Academy Award in such an area, for the 1975 release Cousin Cousine.
Set in the latter half of the 19th century, we study the caustic, lifelong friendship between Cézanne (Guillaume Gallienne) and Zola (Guillaume Canet), told through flashbacks, looking over their school years, up until their later ones. It had been a perpetually tumultuous affair, always affectionate, but not always adoring, but best friends nevertheless. Through the prism of this relationship we learn about two remarkable lives; chronicling Cézanne from being a compulsive idealist to a noteworthy post-impressionist, and then Zola, eventually fulfilling a life he would have once mocked, but both irrepressibly talented, whose gloriously chaotic lives inform their art, and vice versa.
The film revolves around the volatility of its lead, and while it’s imperative to the viewer’s investment that Cézanne remains a humanised, flawed character, there is a slight sense of romanticism attached to his eccentric demeanour, perhaps veering away from realism in the process, emblematic of a film that feels somewhat ornate and restrained. But Cézanne’s tempestuous ways, to be so conceited and inconsiderate, gives this film its dramatic core, despite the fact it can be challenging to quite comprehend why those around him persist in allowing him a second chance, when his company is rarely congenial.
Yet we do remain engaged in the paramount friendship, and the chemistry between the two leads is behind that, as they almost appear to have their own language, where a mere look or nod can say more between them than words ever could, despite their expressive vocations. The non-linear approach taken by Thompson works well too, as we skip seamlessly between time, adding a sense of unpredictability to proceedings that ensures our attention is maintained. The narrative does grow repetitive as we progress towards the latter stages however, as we seem to be shadowing the protagonists, in and out of love, friends one moment, enemies the next, and we follow this path for so long tedium eventually kicks in.
That being said, Cézanne and I remains a fascinating study of art and expression; how it feels to be the storyteller, and how it feels to be the story – and yet regrettably such intriguing themes fall within the boundaries of a feature that plays it all too safe, revelling in its sense of traditionalism, and playing up to the tropes of the period drama (complete with a cliched score), that should give this film a mainstream, international release. But in turn could bore a viewer who appreciates something a little different, more daring, which you just know that Cézanne and Zola would’ve been great champions off.
Cezanne and I is released on April 14th
