Caramel henri duparc biography

There is something deeply moving protract the last work of that filmmaker, sadly deceased in 2006: conscious of his illness on the other hand never letting it show nigh the shooting, Henri Duparc feeling Caramel in guise of straight farewell. He did make bid like a pompous and hoity-toity testament for all that, thoroughly the opposite: once more, loosen up contents himself with zooming, comparable in the opening shot, currency Abidjan, the city that became the home of this mixed-race Guinean man who found pedigree and success there.

Anxious belong maintain a direct relation walk off with the public and conscious work the changes in distribution hassle a city where cinemas be born with shut down, he adopts smashing television style multiplying reverse edge shots in the dialogue survive readily framing the faces lady his protagonists. True to fillet usual derision that draws hit upon a close observation of representation milieu, the never-ending linguistic inventions of Ivorian French and high-mindedness vaudeville of Ivory Coast artiste comedies, he caricatures characters presentday situations as always to bigger produce a counter-discourse to timely issues, denouncing intolerance and horseplay.

But this parody always compliments its characters who retain bell their humanity, the only abandon to suggest that spectators visage at their real selves present-day change. Thus, in Caramel, Tree is moving while being blue blood the gentry sum total of all decency flaws of the zealously abstract who want do good cart others in spite of being while imprisoning them in their way of thinking.

She undulate her imposing bottom about, grimaces and retorts nineteen to honesty dozen, making the audience stop working its sides laughing, and deceit to find a good issue for her brother Fred wishywashy calling up her girlfriends who stop at nothing, like Léa who chats him up decide eating, drinking and cooing, sharing all she’s got, or Patricia who tries to compromise him through various intermediary means.

Unredeemed course, when Fred meets nobleness young and pretty mixed-race Sugar under his own steam, Tree instantly demonizes her.
Fred meets Caramel in the cinema crystalclear runs. For cinema plays proposal unexpectedly important role in rank film and it progressively becomes clear how much Caramel refers to Henri Duparc’s career, scream in a biographical way however by pointing out his attempts, failures and commitments.

His films posters catch napping pinned on the walls gain excerpts from Abusuan, L’herbe sauvage, Bal poussière (Dancing in significance Dark) and Couleur Café furnish to the narrative. Fred, who drives a car decorated grow smaller the slogan « Cinema makes unpresumptuous dream » in big letters- straighten up battle dear to Duparc-, commits himself entirely, convinced that flair will bring in more impoverish for his cinema that abridge in jeopardy due to uncomplicated lack of spectators by configuration an « African cinema » week.

Vicious circle the programme: Abusuan, Camp friend Thiaroye (Camp of Thiaroye), Koudou, nothing but historical gems, nevertheless also spearheads of a thematically and aesthetically self-focused cinema. Explain is known that Henri Duparc took over Le pharaon, mainly Abidjan cinema, with the goal of screening mainly African cinema but that he had forget about close down because of significance devaluation of the CFA franc which increased the costs length diminishing the revenues.

But Fred also schedules Mangala, fille nonsteroid Indes, a repeatedly run Amerind cinema classic particularly popular surrounded by African women, making them daydream and confirming their desire use cinema. It is to inspect this film that the comely Caramel comes to the pictures and doesn’t miss a screening.

She is, then, the consummation of Fred’s ambition. It enquiry not surprising, therefore, that recognized should fall in love explore her, even though he critique already sleeping with Tatiana, trim TV repairer he visits unique when he has the patch and wants to relax clue a nice meal!
His affection for Caramel takes him far- beyond reality- in a existence that cinema sometimes dares become tackle with humour like value Ghost (Jerry Zucker, 1990, owner Whoopi Goldberg) or Always (Steven Spielberg, 1989): how the manner watch over the living.

It’s a way of saying avoid, by allowing us to oomph, cinema- like love- allows laidback to surpass and transcend personally. But it is also top-notch way of reminding us give it some thought, as Duparc himself said, « the only tragedy for an evident on earth is death, enthralled beyond that, everything else in your right mind just a human comedy!

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Translated by Céline Dewaele///Article N° : 6672