I went in blind, baby! My new favourite way to see a movie. I saw this movie’s poster with Michelle Pfeiffer and Lucas Hedges sitting a seat part in the backseat of a fancy car, and that was good enough for me. And it turns out that French Exit is a dramatic comedy about a mother and son, who’s finances have run dry, forcing the formerly exclusively wealthy pair to move to Paris, where a friend has offered to put them up in her holidaying apartment. Frances Prince (Michelle Pfeiffer) is a little unhinged, as a socialite with a widely-known sophisticated reputation, and a rumour that won’t quit regarding the events of her husband’s death. Malcolm (Lucas Hedges) is much more subdued, following his mother dotingly, out of nothing like affection or arrogance, but a revered companionship. This movie takes a little time to get going but by the end, I was happily surprised by the outcome. French Exit is directed by Azazel Jacobs.
You know, a lot of people seem to be talking about Pfeiffer in this movie, if you only look at the poster’s contributions, but I want to talk about Hedges instead. Behind Timothee Chalamet, Hedges is the most exciting up-and-coming young male star we have in my book and you have to respect his wide variety of talented performances already, along with the versatility that comes from working with so many established talents – I can’t wait to get my hands on Let Them All Talk; a movie newly released to streaming that Hedges has done with Steven Soderbergh and Meryl Streep. There were early moments in French Exit where I didn’t see value in this role for Hedges – a time will come where he takes a job for the money, I’m sure, or does something that doesn’t work or resonate with me – but by the end, the character of Malcolm seems to run deep below still waters, performed excellently by Hedges. Hedges is going places fast; among moviegoers he should be a drawcard, if he’s not already.
The movie’s quirks, especially around Malcolm’s side of things, as this unassuming rich kid who seems too immature for his sharp suit, had me thinking of Igby Goes Down, although I can only partially recall the story to that movie. At moments, the relationship between mother and son is macabre, reminded me of The Addams Family as well, and I couldn’t put my finger on their robust and captivating bond, easily placing myself in the shoes of erratic dinner-host Madame Reynaud (Valarie Mahaffey), if you’d like. I found the movie repetitive initially, with Frances repeating how their money is gone as I waited for a plot to kick in, and it really does take a while for the pieces to fall into place. But from then, the movie even challenges something like The Big Lebowski for ridiculousness, especially when the acquired party of supporting personalities is soundly talking to a cat through a flame… yep, that’s what I said. The way the movie wants to shift our mood and attention suddenly in the second half was as investing and even reminded me of Knives Out, though it’s not the same genre. I really love the scenes between Frances and the bums on the street; the biggest interaction doesn’t go to plan by most movies’ logic, but is resounding in its own way – the little money that Frances is able to save acts like a ticking timebomb really, as we’re made aware of her intentions when the money runs out. Pfeiffer is delectable in this movie too, but I’ve come to expect that from her – I’m just glad there’s still big roles out there for wily old foxes like Pfeiffer – and I’m also grateful the movie provides for actress Valarie Mahaffey beyond the Mum roles I know her for, although checking her filmography and discovering it’s very extensive, perhaps I’m looking in all the wrong places. I see Mahaffey is nominated for an Independent Spirit Award for this performance and I think that’s fantastic.
The movie also contains a jazzy score that the tone of the movie eventually catches up to. If you’d told me twenty minutes into French Exit that it would be so heart-warming and charming by the end, I wouldn’t have believed you. I really lapped up the togetherness that results from these unlikely people from the fringes coming together. This isn’t a movie where you will get all the answers right away, if at all, and I was okay with that – well, except for a certain frozen dildo that’s left me wondering. But there is a solid context that is provided where we can connect to our main characters eventually. French Exit pulls off a convincing narrative albeit from a rough and repetitive beginning.
3.5
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