Fans obsess over stars, yes, but when a celebrity is lonely, isolated, and needs someone in their life they can connect to, and control ... even a crazy fan may have some something to offer. Such is the premise of Backstage. As with many foreign movies its not just the plot, or the relationships, but the texture and feel of the world the characters inhabit that forms the "meat" of the film. And its a sad, manipulative, emotionally-starved world these people inhabit. Never having been a celebrity, nor a member of an "entourage", still I sense this movie "gets it right" as it tracks the characters efforts to find love and happiness in their dysfunctional, stifling unnatural world. Amazing performances from all cast members. Well worth a watch.
10 Reviews
'Backstage' - of idols and monsters
janos4514 January 2007
Emmanuelle Bercot - popular in France, little-known in the U.S. - may make a name for herself with "Backstage," opening today [1/5] at the Embarcadero Cinemas.
In this film she directed last year, a teenage groupie's fantasy comes true, turns into a nightmare, then resolved with a bizarre and chilling double-cross, in relentless action that often borders on melodrama.
If Bercot did nothing else except cast Isild Le Besco to play Lucie, the true believer in Lauren, a Blondie/Céline-like pop star (Emmanuelle Seigner), she would deserve much credit. Lucie is totally obsessed with Lauren - her room a shrine to the singer, every word of her songs memorized and internalized - and Le Besco makes the character scarily believable.
A veteran of 32 movies, the 24-year-old actress has the face and temperament of a chameleon, she is far from "Hollywood-pretty," but has a mesmerizing presence. It's high time American audiences get to see her. Le Besco's "strangeness, raw presence, combining a child's gentleness with the disturbing qualities of madness" (in Bercot's words) make an indelible impression.
Fan and star cross paths, and the monstrous diva brings the often catatonic idolater into her dysfunctional, chaotic life. All the power is on one side in this relationship, and yet - shades of "All About Eve"! - Lucie gets her way unexpectedly at times. A large, capable cast rounds out what is essentially a duet for the two women.
Without lecturing or preaching, Bercot unmasks ugly aspects of celebrity worship. Her script for the film ranges from pedestrian to insightful. As so many movies today, "Backstage" suffers from the lack of a decisive editor, overstaying its welcome by running almost two hours. It may remain unrated, but the realistic/intimate depiction of the pop star's life definitely puts it in the "R"-plus range.
In this film she directed last year, a teenage groupie's fantasy comes true, turns into a nightmare, then resolved with a bizarre and chilling double-cross, in relentless action that often borders on melodrama.
If Bercot did nothing else except cast Isild Le Besco to play Lucie, the true believer in Lauren, a Blondie/Céline-like pop star (Emmanuelle Seigner), she would deserve much credit. Lucie is totally obsessed with Lauren - her room a shrine to the singer, every word of her songs memorized and internalized - and Le Besco makes the character scarily believable.
A veteran of 32 movies, the 24-year-old actress has the face and temperament of a chameleon, she is far from "Hollywood-pretty," but has a mesmerizing presence. It's high time American audiences get to see her. Le Besco's "strangeness, raw presence, combining a child's gentleness with the disturbing qualities of madness" (in Bercot's words) make an indelible impression.
Fan and star cross paths, and the monstrous diva brings the often catatonic idolater into her dysfunctional, chaotic life. All the power is on one side in this relationship, and yet - shades of "All About Eve"! - Lucie gets her way unexpectedly at times. A large, capable cast rounds out what is essentially a duet for the two women.
Without lecturing or preaching, Bercot unmasks ugly aspects of celebrity worship. Her script for the film ranges from pedestrian to insightful. As so many movies today, "Backstage" suffers from the lack of a decisive editor, overstaying its welcome by running almost two hours. It may remain unrated, but the realistic/intimate depiction of the pop star's life definitely puts it in the "R"-plus range.
The Trouble With Cinderella
writers_reign21 January 2006
Warning: Spoilers
The more erudite among my readers will recognize my summary as the title of one of if not THE finest autobiographies of a musician, whether 'pop', jazz or classical, ever published and I am more than happy to acknowledge Artie Shaw as the author. The film is the latest in a mini-genre exploring the phenomena of female idolatry. Joseph L. Mankiewicsz got there early if not indeed first, back in 1950 with All About Eve, a couple of years ago we had La Role de sa vie and now backstage. There's a definite progression traceable between all three; in 'Eve', Ann Baxter's Eve was not really as in love with Bette Davis' Margo Channing as she was with Eve Harrington, the early 'hero-worship' was merely a ruse to get close enough to Channing to oust her. In La Role de sa vie Karin Viard began by genuinely admiring Agnes Jaoui as an actress and welcoming the chance to work for her as secretary cum dogsbody but was strong enough to walk away and get a book out of it when the time was right but in Backstage Isild Le Besco is little more than a young girl besotted with a 'star' pop singer in the shape of Emmanuells Seigner and takes little more than disappointment away from the encounter. We're asked to believe that Le Besco's mother could persuade a pop superstar to shoot a video in the garden and house located in an unremarkable suburb as a 'surprise' for her daughter. If this puts a strain on our credibility it's nothing to the ease with which Le Besco succeeds where dozens of other wannabee groupies fail in becoming a gofor for Seigner. By fair the most interesting character is Noemie Lvosky in a role that has parallels with Thelma Ritter's 'Birdie' in All About Eve. Lvosky is a writer herself (Il Est plus facile pour une chameau ...') and recently directed her own first feature the excellent Les Sentiments and is spot-on as secretary-minder. Though light years short of either 'Eve' or 'Role' it's not as bad as it might have been.
"All About Eve", but with sexy French bisexuals
lazarillo10 July 2012
It would be lazy, but not really inaccurate to describe this as a modern-day French version of "All About Eve". It has a lot more sex (I said it's French) and kind of a bisexual twist (it's modern-day French). The story involves the young fan (Isilde LeBosco)of a pop star diva (Emmanuelle Seigner) who finds her way into the inner circle of her idol, but manages to sow a lot of discord by becoming involved with the idol's jackass boyfriend as well as inciting a no small amount of inter-generational lust in the idol herself. . .
Emmanuelle Seigner is perhaps MOST famous for being Mrs. Roman Polanski, and she has really done her best work in her husband's movies like "Bitter Moon" and "The Ninth Gate". She's not a GREAT actress, but she's always been a sexy and fearless performer. She seems a little long in the tooth to be a "teen idol", but, hey, she's a lot younger than Madonna. Isilde LeBesco seems to be a rather ordinary-looking girl, but she also possesses a hot little body which she has been showing off in French movies since she was the French-version of barely legal (I suspect Seigner probably had to keep her nubile co-star here away from her notorious husband). Seriously, LeBeco is also a very decent actress, and this movie is really both a classy French dramatic thriller AND a pretty hot inter-generational, bisexual sex romp. But if you prefer the former, I'd also recommend the similar French film "Love Crime", and if you prefer the latter, I'd recommend the film "Nathalie" with the other French Emmanuelle, Emmanuelle Beart (which was recently re-made as Canadian/US co-production "Chloe").
As for THIS film though, it's not "All About Eve", but it's certainly not a waste of time either.
Emmanuelle Seigner is perhaps MOST famous for being Mrs. Roman Polanski, and she has really done her best work in her husband's movies like "Bitter Moon" and "The Ninth Gate". She's not a GREAT actress, but she's always been a sexy and fearless performer. She seems a little long in the tooth to be a "teen idol", but, hey, she's a lot younger than Madonna. Isilde LeBesco seems to be a rather ordinary-looking girl, but she also possesses a hot little body which she has been showing off in French movies since she was the French-version of barely legal (I suspect Seigner probably had to keep her nubile co-star here away from her notorious husband). Seriously, LeBeco is also a very decent actress, and this movie is really both a classy French dramatic thriller AND a pretty hot inter-generational, bisexual sex romp. But if you prefer the former, I'd also recommend the similar French film "Love Crime", and if you prefer the latter, I'd recommend the film "Nathalie" with the other French Emmanuelle, Emmanuelle Beart (which was recently re-made as Canadian/US co-production "Chloe").
As for THIS film though, it's not "All About Eve", but it's certainly not a waste of time either.
Captures the essence of early 2000s celeb & fan life
writersmorgue22 September 2022
Granted, this movie depicts what I would imagine any celebrity driven to the edge by fame and it's expectations, would go through. A woman who's life of being a celebrity appears just as unstable as the former, Amy Winehouse or likened to Britney Spears. These were also women of the early 2000s era where bottling things up was the way and events and expectations were more extreme and outrageous. Versus the current times we're in where it's become brave and admirable for celebrities to be outspoken about their truths of the industry, defending and protecting themselves and their sanity more so.
Not sure what the director, Emmanuelle Bercot was trying to accomplish with this film, however.. my assumptions were that this was merely a 'Once upon a time' tale of an overworked celebrity and a crazed fan. A story that I'm sure holds small truths to the lives of those who've been in these situations before. This seems like a story told for the fun of it, for that I can't be mad.
I personally feel like there could've been more scenes with the two women, but nonetheless, it is what it is.
Not sure what the director, Emmanuelle Bercot was trying to accomplish with this film, however.. my assumptions were that this was merely a 'Once upon a time' tale of an overworked celebrity and a crazed fan. A story that I'm sure holds small truths to the lives of those who've been in these situations before. This seems like a story told for the fun of it, for that I can't be mad.
I personally feel like there could've been more scenes with the two women, but nonetheless, it is what it is.
As dead as a stuffed deer
rpowell-428 October 2006
Some friends took me to see this film in Helsinki. I really had no idea what to expect. The evening started, as evenings at the cinema do, with a series of trailers. There came what seemed to be a trailer for a French film featuring an ageing chanteuse (shades of a Gallic Madonna perhaps) performing in front of a young, hysterical audience. I thought that there was a film I would not go and see
and then it turned out it wasn't a trailer, but the start of the evening's main entertainment. The first five minutes set a scene, and a plot line appeared to be established. Not a particularly enthralling plot, perhaps, but something which might carry us along.
How wrong we were. The plot got stuck in a Paris hotel suite, and the characterisation wasn't even skin deep. The chanteuse Lauren, or Sylvia was a diva with problems. But not interesting problems, or dramatic problems; just time-consuming ones. She had some sort of artistic block. She sent a star-struck fan who had implausibly joined her entourage, Lucie, not to buy drugs, but to buy tampons. She was mobbed by fans, a strange and unconvincing mixture, who mostly looked like thirty-something resting actors told to wear something red and plastic. She had family problems of some sort. It was immensely boring. For all I know it perked up in its last forty minutes. But by then we were already in a nearby restaurant wondering why this film should have been made, let alone marketed, or rated by the critics.
There was one good line, when the diva's agent or boyfriend or whatever said that "she likes to appear wild, but underneath she's as dead as her stuffed deer" - a major feature of the hotel suite, which did indeed give a livelier performance than most of the cast. Let that be the epitaph for this exceptionally disappointing movie.
and then it turned out it wasn't a trailer, but the start of the evening's main entertainment. The first five minutes set a scene, and a plot line appeared to be established. Not a particularly enthralling plot, perhaps, but something which might carry us along.
How wrong we were. The plot got stuck in a Paris hotel suite, and the characterisation wasn't even skin deep. The chanteuse Lauren, or Sylvia was a diva with problems. But not interesting problems, or dramatic problems; just time-consuming ones. She had some sort of artistic block. She sent a star-struck fan who had implausibly joined her entourage, Lucie, not to buy drugs, but to buy tampons. She was mobbed by fans, a strange and unconvincing mixture, who mostly looked like thirty-something resting actors told to wear something red and plastic. She had family problems of some sort. It was immensely boring. For all I know it perked up in its last forty minutes. But by then we were already in a nearby restaurant wondering why this film should have been made, let alone marketed, or rated by the critics.
There was one good line, when the diva's agent or boyfriend or whatever said that "she likes to appear wild, but underneath she's as dead as her stuffed deer" - a major feature of the hotel suite, which did indeed give a livelier performance than most of the cast. Let that be the epitaph for this exceptionally disappointing movie.
Style over substance
grantss19 February 2020
Had potential but falls back on the old French staple of style over substance. Some suspense but drifts and feels contrived.
Performance-wise, Isild Le Besco is irritating but Emmanuelle Seigner provides the suitable gravitas and hedonistic randomness as the pop star.
Performance-wise, Isild Le Besco is irritating but Emmanuelle Seigner provides the suitable gravitas and hedonistic randomness as the pop star.
Isild Le Besco is amazing in this film.
rogermanning9955 December 2007
It's the performances that make this film worth seeing. Isild Le Besco's is amazing. Her face says it all. See this just to watch her, particularly in her happy moments. I was also very impressed with Nomie Lvovsky (plays a supporting role). She also was perfect in her non-verbal facial expression story telling.
The rock star/fans/entertainment industry plot is the framework, but the story isn't really about all that. The rendering of the plot is somewhat comic and melodramatic, but I believe this is intentional to keep all that from getting in the way of the real story which is the characters' passions and interactions. Even so, there is plenty of reality involved.
The rock star/fans/entertainment industry plot is the framework, but the story isn't really about all that. The rendering of the plot is somewhat comic and melodramatic, but I believe this is intentional to keep all that from getting in the way of the real story which is the characters' passions and interactions. Even so, there is plenty of reality involved.
A teenage fan in France is obsessed with an older pop singer
orson-1318 July 2015
This 2005 film was surprisingly good, thanks to very deft and often subtle direction by Emmanuelle Bercot, who co-authored the script. She establishes an intense mood, a dark song of love, that nevertheless remains rooted in ordinary reality, despite occasional histrionics by one or another of its leads. A superb supporting cast (including Noemie Lvovsky) provides human touches and Emmanuelle Seigner, as the adored diva, and Isild Le Besco as the smitten fan, approach one another with a mix of curiosity, fear, and affection. This theme has been done before, notably in Tom DiCillo's sentimental and funny "Delirious," but "Backstage" has a European air, like Chopin's "Tristesse" Etude. Bercot is careful not to let it go over the brink, keeping the mood disciplined and the story within the boundaries of reality, despite the younger woman's often neurotic behavior. A relationship movie that is intriguing.
Oddball, enjoyable modern melodrama/psychodrama
runamokprods15 March 2013
A teen-age fan of a Madonna-eque pop star ends up befriending the star, and before long all sorts of boundaries start getting crossed. Picture a dash of "All About Eve", a little "3 Women", and mix in some "Almost Famous" and you have some of the feel of this dark, but fun brew.
Terrific performances by the two protagonists – Emmanuelle Seigner as the singer, Islid Le Besco as her obsessed teen protégé drive the film, making scenes that could have seemed ridiculous ring oddly true, if strange.
Not everything works. Among other things the singer's music feels far too cute and generic to drive the kind of dark obsession we see. And some twists stretch credulity or reason at moments. But if Bergman had directed "About Famous" we might have gotten something a little like this heady mess of sexuality, loss of self, obsession, complex familial relationships being created and destroyed, loss of innocence, etc. etc.
Terrific performances by the two protagonists – Emmanuelle Seigner as the singer, Islid Le Besco as her obsessed teen protégé drive the film, making scenes that could have seemed ridiculous ring oddly true, if strange.
Not everything works. Among other things the singer's music feels far too cute and generic to drive the kind of dark obsession we see. And some twists stretch credulity or reason at moments. But if Bergman had directed "About Famous" we might have gotten something a little like this heady mess of sexuality, loss of self, obsession, complex familial relationships being created and destroyed, loss of innocence, etc. etc.
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