Alice and the Mayor

Fabrice Luchini and Anaïs Demoustier are on top form in a critical yet humorous look at French politics.

Fabrice Luchini and Anaïs Demoustier

The great merit of Alice and the Mayor lies in the splendid performances by its two leading players both of whom are perfectly cast. The main setting is the French city of Lyon whose mayor, Paul Théraneau, a man of the left, is played by Fabrice Luchini. He is presented as someone once known for the range of ideas that marked his life in politics but that is no longer the case and he needs outside help. It comes in the form of Alice Heimann, a 30-year-old academic played by Anaïs Demoustier who travels from Oxford to take up a post that had been advertised. Her ideas and Paul’s beliefs are in line but the film brings out the contrast that exists between on the one hand free-ranging philosophical ideas that could benefit society and on the other hand the practicalities present in politics whether local or otherwise. Alice is forthright and used to the freedom that is to be found in intellectual circles whereas Paul has to think tactically in order to maintain support and is all too aware of the power games and rivalry of those around him.

Alice and the Mayor is a second feature by the French writer/director Nicolas Pariser who is an admirer of the works of Eric Rohmer and is no less ready to make a film in which what is said is a dominant factor. Like Rohmer he is able to take that route while creating characters who feel admirably real but whose conversations abound in philosophical ideas. In both cases the result is quintessentially French, but Pariser puts far more emphasis than Rohmer did on political concerns. However, art does come into it and results in many references to authors (Alice and the Mayor brings in Rousseau, Orwell and, at its close, Herman Melville’s Bartleby).

Pariser’s approach makes for a very personal film, but I don’t think that he has found the right tone for it. At the outset Alice arrives to take up her position and learns that it has become defunct but she is nevertheless assured that she need not worry because a new role for her has hastily been cobbled up. Rather vaguely she is told that she will advise on idea development and this opening implants an expectation that the film will be satirical, a comedy. As the film proceeds, bureaucratic jargon and outlandish ideas do play a part, but the predominant tone is more serious and these contrasted elements don’t really blend. Similarly, a range of supporting characters are introduced but tend to be inadequately developed and therefore make no effective contribution. As though aware that one usual ingredient, sex, plays no role in this film, Pariser suddenly brings in a love interest for Alice but then plays it down so much that it adds nothing. Also present is a character with extremist views about the state of the world and what an artist needs to do in consequence. Her scenes could indeed be satirical save for the fact that we then learn unexpectedly that she is receiving treatment for being psychologically disturbed.

The ideas that Pariser wants to express are apparent enough, but if they come into focus the film itself does not. It lacks propulsion and fails to come together as a consistent whole. But that’s down to Pariser and never to his players. Demoustier is spot on and delightful. As for Luchini, you only need to see the mayor entering the council chamber for a meeting and shaking hands as he arrives to recognise that Luchini has absolutely become the character that he is portraying. Whatever the failings in Alice and the Mayor, the acting gives immense pleasure and arouses intense admiration.

Original title: Alice et le maire.

MANSEL STIMPSON

Cast: Fabrice Luchini, Anaïs Demoustier, Nora Hamzawi, Léonie Simaga, Antoine Reinartz, Maud Wyler, Alexandre Steiger, Pascal Rénéric, Thomas Rortais, Thomas Chabrol, Michel Valls, Lucie Gallo.

Dir Nicolas Pariser, Pro Emmanuel Agneray, Serge Hayat and Genevieve Lemal, Screenplay Nicolas Pariser, Ph Sébastien Buchmann, Art Dir Wouter Zoon, Ed Christel Dewynter, Music Benjamin Esdraffo, Costumes Anne-Sophie Gledhill and Indiana Sylla.

Bizibi/Arte France Cinéma/Scope Pictures/Canal+/Ciné+-Mubi.
105 mins. France/Belgium. 2019. Rel: 7 July 2021. Available on Mubi. No Cert.