So, may we start?

I go to the cinema with Liam fairly regularly and usually we have mutual opinions on films. Some we disagree on, we may like some more than the other and that’s cool. Occasionally, one of us will enjoy a film, but it won’t be the other’s favourite (He liked Jungle Cruise?). However, I don’t think a film has divided us as viscerally as Annette. One of us thought it was a bloated mess and was glad it was over, the other considered it one of their favourites of the year so far. As I was watching, I could see how someone could love and hate this marmite film, considering those I’d recommend it to and those who I’d tell to avoid it regardless of my personal opinion. If a 2.5 hour long rock-opera with music made by the Sparkes Brothers takes your fancy, a film which brings the weirdness up to 11, Adam Driver playing a dark humoured comedian, and a film which has a cursed puppet baby as it’s central focus, then please read ahead. If this sounds like your version of hell, you won’t like the film. That’s okay. One of me and Liam didn’t like it either.

This is a very difficult film to describe without spoiling a major plot point, but I’ll try. The trailer above manages to give nothing away, which doesn’t help me work out what I can spoil either, but it’s a fun film to go into blind. Henry (Adam Driver) is an abstract comedian, and very succesful in his life, he falls for Anne (Marianne Cottilard). They then have a baby, and following an event, it is realised this young child has an incredible singing voice, so Henry gets his conductor friend (Simon Helberg) to help him make her a star.

The above sounds very standard, but the film is anything but. It’s impossible to describe without spoilers. The film has deceit, death and characters who are wooden puppets. I was lucky to have had a drink before hand, because fully sober, or in the wrong mood, this film would have rubbed me up the wrong way. It’s not accessible and in fact, you need to suspend your disbelief, and there is one thing that helps you do that, Adam Driver.

Back from his incredible performance in Marriage Story, Driver is absolutely incredible in this film. He gives everything and in his most stagey moments captivates you, like your one of the crowd. Going from a performer to an emotional wreck, the instability of his character leads to apprehension. He’s a ticking time bomb who likes control and can’t have it. He desires the voice of his daughter, but is in anguish when he hears it. This role is such a difficult one and he pulls it off which such suave. Despite not being likable, the character was so intriguing and powerful. There is a particular scene three quaters of the way through where he says nothing, but his face does all of the acting. Surely, he should be considered for an Oscar, if not an ASBO nom is likely to be headed his way.

The casting is absolutely excellent across the board. Marion Cottillard has an absolutely incredible voice, while Simon Helberg (Howard from the Big Bang Theory) is absolutely wonderful. There is a scene midway through where he is conducting a band, but talking to the audience, and he portrays so much emotion within his words and actions. Now he has the chance to show his talents, boy is he thriving. His scenes with Driver, including a wonderful example of physical theatre are all divine. There is also an actor who comes in late in the film (I shall not say who as it involves a spoiler) and despite how unlikely this seems, she really stands level with an actor as talented as Driver to give the film an incredible finale.

While the actors alone are a pleasure to watch, the set design and cinematography are brilliant as well. With an envious green tone throughout, some of the sets just feel brilliant, especially the hyperbowl one. Meanwhile, the camera movements are incredible ambitious in certain scenes, such as the opening one and particularly the Helberg conductor scene.

I’m this far into a review about an opera and haven’t discussed the music. It’s a wonderful alt rock soundtrack by Sparks. It goes from rock to operatic very quickly, keeping you on your toes. The music may not vary that much and there is a lot of Les Mis singing what you’re thinking, but it’s so big and grand and done with such emotion that it doesn’t really matter. The humour in these scenes is very meta and on the nose, as is clear in the opening scene which is a song called “May we start?“

While I found the film capitivating with its key ideas of jealousy and control, there is a lot that people won’t like. They might say it’s an overly-long repetitive film which swaps story telling for weirdness. That may be true, especially the latter half. Baby Annette is a marionette (showing the themes of control and her parents’ relationship with her) after all and requires a significant suspension of disbelief or a drink before hand. However, if you really are into it, the 140 minute run time flies by. Sure, the music is a bit samey at times, but it’s fine as the performances are what draws you in. People may wish it ended earlier, but we’d miss one of the best final scenes of the year.

It’s a really strange movie and it will divide you. This blog is where I write my opinions and I won’t apologise for that. Love or hate this film, you won’t be able to stop thinking about it.

Summary

Annette is a captivating, strange musical. You won’t have seen anything like it, so it’s a massive risk. While some will despise it, it is in my opinion one of the best films of the year with a world class performance from Adam Driver, a wonderful dramatic score and a beautifully shot film entrancing me and more than making up for any flaws within it. This film is the sort which could truly become a cult classic in the years ahead. [Grade: A]

Annette is on a limited cinema run now and is on MUBI in November.