A slight but satisfying choice to open Director’s Fortnight at the Cannes Film Festival, Pietro Marcello’s “Scarlet” isn’t quite a fairy tale, although it certainly feels like one at times. For exa…
” isn’t quite a fairy tale, although it certainly feels like one at times. For example, roughly midway through the movie, a woman who might be a witch meets the film’s fanciful young heroine, Juliette , in the woods and predicts her fortune, explaining that one day this girl — who’s destined for greater things than the provincial Normandy farm where she’s dutifully passed her adolescence — will be whisked away by a ship flying scarlet sails.
Applying Marcello’s unfussy nonfiction shooting style to a tender father-daughter story, “Scarlet” recalls the work of Jacques Demy . The same goes for Juliette’s propensity for song — she’s described as the only person in her otherwise mirthless village who still sings — even as the film’s grainy 16mm texture, mix of original and archival footage, and unforgettable ensemble of working-class faces fall more in line with Italian helmers who’ve come before .
Even so, Raphaël is a practical man with hands knotted by years of physical labor — the kind of detail one can’t fake, and which makes the casting of Thiéry such an authentic choice for the role. The actor, who appeared in Cannes with rustic curiosity “Staying Vertical,” comes across as a real-deal carpenter, who accepts the hospitality of widow Adeline in exchange for help around her farm.
It’s during this period that she makes the acquaintance of the witch . Now, the word “witch” is thrown around quite a bit by suspicious male characters who seem ill-prepared to cope with independence of any kind among their womenfolk. Even Juliette is so accused when she favors the company of wild toads to the even slimier local creeps — pushy guys like Renaud . No wonder she’s ready to fall in love with the dashing pilot who literally falls from the sky.
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