Cesars ceremony: the ups and downs of the trick



Her beautiful black dress only made her smile brighter. Laure Calamy, who celebrates her 46th birthday this week, exulted on the stage of the Olympia where she was awarded the César for best actress for her role in Antoinette in the Cévennes. With effusion, she thanked all those whom she thought of thanking, it was a little long and a little played, also, because we were with actors, whose profession, whose life, it is precisely to play. But what a joy to listen to this radiant woman during this 46e much-maligned ceremony. We would like to quote everything.

→ CRITICAL. “Antoinette in the Cévennes”, in the footsteps of Stevenson

After thanking the artisans ofAntoinette in the Cévennes and some friends, Laure Calamy wanted to say this: “I also wanted to thank my friend“ Paul Emploi ”, who supported me during all these years when I could bring him enough hours. Without its existence, many of the projects that I did would not necessarily have seen the light of day, because it is a subsidy, in fact, indirect to the artists for their shows. “ She later mentioned “The young provincial that I was, at the Center dramatique national d’Orléans”, and she had a thought for “Les Carmes cinema, which was once called the Martroi”, thus welcoming the cultural policy of our country since the post-war period, which makes all the arts shine in all the provinces, and thanks to which, everywhere in France and more easily than anywhere else in the world, we can if we wants to go to the cinema, to the theater, to the concert, to find a bookstore, a library, a media library, and everything that everyone needs to look up and see beyond their daily grind. The proof ? The many theaters now occupied by actors, scattered throughout the territory. Without public money, there would not be much to occupy.

A poorly written show

Of course, every year, the Caesars ceremony also sins with a badly written show, too long, messy, aggressive, whiny, politicized, ego-centered, vulgar on occasion, incomprehensible at times, when it is not downright embarrassing. My worst memory goes back to the 2010 ceremony, where the guest of honor was Harrison Ford. The man was already approaching 70 years. I can see him sitting in the front row, impeccable in his dark suit, smiling, impassive during an endless awards ceremony during which an actress began to cry out loud on stage. In front of my television, I curled up in shame. His turn came, the American star, in a few words going straight to the heart, thanked the academy for this immense honor, and the French cinema to which he owed so much.

In recent days, in addition to the usual furies of social networks, we have heard too many great voices offended by the worst moments (it must be said that there was something) of the ceremony. Nicolas Beytout wondered on Europe 1 if it was justified to maintain the expensive system of unemployment compensation from which the actors benefit. Jérôme Clément, on Sud Radio, felt that “Maybe stop this thing and invent another one”. The “Trick” being the ceremony. Why not, but the “Trick”, this year like the others, had many beautiful moments. I will stick to the tribute to the missing of the year, to the sound of What remains of our loves sung by Benjamin Biolay. I had goose bumps.

The main thing, however, is to recognize it: with all its faults, the French cultural world is magnificently protected. Let’s not change anything, let’s be proud, let’s be grateful. The mistakes of taste each year at the Césars do not weigh heavily against the conclusion, so true, of Laure Calamy: to protect culture is to allow“To hear what makes us human beings”. Nothing less. And it looks like stop? Let’s say again, let’s say it loudly.

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