Satoshi Kon (1963-2010): Anime director loses battle with cancer at 46

The world of animation has been rocked by news of the sudden death of the pioneering Japanese director Satoshi Kon, who died of pancreatic cancer at the age of 46 yesterday.

Kon was the anime equivalent of Charlie Kaufman, his four finished films were multi-layered and their concerns were generally introspective and psychological, with questions of identity usually in the foreground. In no film was this more apparent than in his most recent finished film: 2006's 'Paprika'. Four years before Nolan's 'Inception', 'Paprika' involved a device that allowed people to enter other people's dreams and the film blurred the lines between the dreamworld and reality.



But the anime film-maker had played with similar themes since his 1997 debut as a director, 'Perfect Blue', which amidst the now familiar questions of identity also explored celebrity and the (then) new dangers presented by Internet chat rooms. A Hitchcockian thriller, 'Perfect Blue' follows a young J-Pop star as she decides to change her image and try to make a living as a serious actress. A fact which angers some of her fans.



Then came perhaps his seminal work: 'Millennium Actress', released in 2001, was the story of an old actress looking back at her life through the parts she played, with reality and fiction becoming blurred. The actress, who has not been interviewed in years and has completely retired from public life, was loosely based on Setsuko Hara - the actress most famous for her starring role in Ozu's so-called Noriko trilogy of the 40s and 50s. The film plays with genre as a number of different epoch's of Japanese cinema are lovingly recreated, from Ishiro Honda-style monster movies to 'Throne of Blood' era Kurosawa pictures.



2003 saw a slight departure, with the release of 'Tokyo Godfathers', the story of three homeless people who come across an abandoned baby one Christmas and resolve to find her parents. There is one brief dream sequence and one of the homeless could be said to be in conflict with their own identity (the homosexual male Hana wishing to be the child's mother), but otherwise 'Tokyo Godfathers' is slightly more grounded in a solid reality compared to his other work - at least until the buildings start dancing over the end credits. Instead, much in the same way that 'Perfect Blue' and 'Millennium Actress' looked at issues of fame and celebrity, 'Godfathers' subtly questions Japanese society and its attitudes towards those who slip through the net. This isn't done via any grand soliloquy, but rather it is demonstrated by some of the obstacles that come between the trio and their goal. As Hana recites a number of Haiku, which enter the frame in elegant calligraphy, perhaps Kon was also satirising the Japanese traditions of formal beauty which exist in contrast to the reality of these people's lives.



Sandwiched between this oddity and the more conventionally Kon-esque 'Paprika' was the dynamic and experimental television series 'Paranoia Agent', a story of a mysterious, possibly imagined, juvenile thug told over thirteen episodes and from the perspective of as many characters. Kon saw the show as a way to make something which could utilise a number of his ideas which he felt did not fit into any of his features, and as such the show is richly filled with imaginative and memorable scenes.



Kon was known to be working on a fifth feature film, known as 'The Dream Machine', up until his death. It remains unclear whether this project will surface and in what form. Hopefully the late animator had finished the project, which he described thusly:

On the surface, it's going to be a fantasy-adventure targeted at younger audiences. However, it will also be a film that people who have seen our films up to this point will be able to enjoy. So it will be an adventure that even older audiences can appreciate. There will be no human characters in the film; only robots. It'll be like a "road movie" for robots

But whatever comes of 'The Dream Machine', Kon's legacy is not only the great imagination and psychological depth of his four existing films, but also the tone. Kon's work is an antidote to anyone who thinks anime is about cute, fetishistic school girls dancing around with giant robots, or whatever. Kon's films took a serious, gritty, non-exploitative tone and dealt with subjects usually found in live-action, but which could not have been realised in live-action (at least not without a huge budget). He used animation to the fullest and exploited all its possibilities in a way seldom seen inside of Japan or out.

And yet Kon is almost always overlooked when naming the great contemporary animators. When the definitive book is written on the last twenty years of animation, and sections are being given to Hayao Miyazaki, Sylvain Chomet, Brad Bird, Michel Ocelot, John Lasseter, Jan Švankmajer, Richard Linklater and Nick Park - let us hope space is reserved for Satoshi Kon. A true visionary and a master animator and a life cut tragically short. Tonight I will raise a glass to Kon-san.

'The Illusionist' review: a slight and melancholy animation from a modern master...

Fans of Sylvain Chomet's surreal 2003 animated feature 'Belleville Rendez-vous' will not be surprised to find his follow-up, 'The Illusionist', is a melancholic, mostly silent tale with an old-fashioned sensibility and a penchant for physical comedy. What this latest feature does, however, is take Chomet's obvious Jacques Tati influence to a new extreme. Whereas 'Belleville Rendez-vous' was full of playful allusions to the celebrated comedy film-maker (such as a poster for 'Les Vacances de M. Hulot' - a gag he repeats here), 'The Illusionist' goes one step further with the titular character bearing Tati's real surname (Tatischeff), and aping his mannerisms and appearance. It is also, most importantly, based on a long-forgotten and previously un-filmed screenplay written by Tati himself. And so 'The Illusionist' is, in its quirky, surreal way, a slightly more grounded film than his first as it functions as a sort of loose biography of Tati's bittersweet relationship with his own daughter (the late Sophie Tatischeff - to whom the film is fittingly dedicated).

If you have ever left a movie derisively declaring that "nothing happened", then it is safe to say that 'The Illusionist' is not going to be your idea of a fun time. The "plot" is slight: set in the 1950's an aging magician finds his act no longer appeals to people in an age of rock n' roll and television. But when he plays a remote Scottish island he finds a new fan in the form of a young girl who comes to believe he is genuinely magical. Perhaps beguiled by the young girl's sincerity and good nature, or possibly just because he has found an appreciative audience, the magician takes the girl under his wing and, like Chaplin in 'City Lights', has to work menial jobs in secret in order to maintain his increasingly expensive illusions - lest the girl learn the truth. This is essentially it. But this is enough. It is a serene film which takes you across the Scottish countryside and into a beautifully realised picture of 1950's Edinburgh (the city where Chomet's Django Studios is actually based).



It is a film which you can relax and enjoy as it washes over you. It is calming and purely joyful - that is, at least until its poignant and sombre conclusion, which is pitched perfectly. Whilst it never caused me to well up in the way something like 'Up' did, it still provided much to think about. Perhaps it is a film that asks you to be more reflective than reactive. It certainly isn't shamelessly manipulative like 'Toy Story 3'. I wouldn't like to spoil the ending, but I'll just say that there is a bit of business involving a pencil at the film's climax which is on the level of genius. It is also nice to see another traditionally animated film in 2010.

I have nothing against computer-generated animated films. However, in the last decade they had come to supersede all other forms of animation. But now that Disney have returned to hand-drawn and good stop-frame films like 'Coraline' and 'Fantastic Mr. Fox' are being made, Chomet's film is another reason to be cheerful for fans of the art form. There is some distracting CGI in 'The Illusionist' that seems to harken back in early 90s Disney, notably the cars, trains and one ill-conceived aerial shot of Edinburgh, but generally it is one of the nicest looking animated films you will ever see. To say it is charming is to revert to a wet cliché, but it is exactly that. Especially in its loving detail, which includes an accurate reproduction of the inside of Edinburgh's own Cameo Picturehouse, among other things.



It is true that the characters are broad caricatures (much like they would have been in one of Tati's own films), with a be-kilted, drunken Scotsman, a fat opera-singer and a number of unflattering depictions of the teeth of British aristocratic stock, but there is no malice here. In fact there is great humanity in the film, which also depicts a number of other vaudevillian entertainers now tragically down on their luck, such as a suicidal clown and a homeless ventriloquist forced to pawn his dummy.

'The Illusionist' is not just light entertainment, but it is a poignant and mournful love letter to a long-dead world of light entertainment (reminiscent of another Chaplin feature: 'Limelight'). In recent years Pixar have lead the way in addressing the fears of aging, of loss and of growing obsolete, in films as diverse as 'The Incredibles', 'Finding Nemo' and, of course, 'Up'. But what is brave about Chomet's film is that he is prepared to end on that particular note of melancholia. Though with animation this beautiful, Chomet is certainly keeping the wonder and the magic of Jacques Tati alive.

'The Illusionist' is rated 'PG' by the BBFC and is currently playing across Picturehouse cinemas, including Brighton's Duke of York's.

'Ajami' review: Israel's answer to 'City of God'...

If you had to take a wild guess at what feature triumphed in the best film category at last year's at Israel's national film awards - the Ophirs - you'd most likely go for Sam Maoz's 'Lebanon', the Golden Lion winning film entirely set within the claustrophobic confines of a tank during the 1982 war with that country. But you'd be wrong. Triumphing instead was Israel's own answer to Brail's 'City of God' and Italy's 'Gomorra', a harrowing and realist portrayal of life in a poor Jaffa neighborhood called 'Ajami'.

Split between five interconnecting chapters, which each show a different aspect of life in the city from a different character's point of view, the film has an ambition and a broadness of scope which make it feel almost like the opposite extreme to the tightly wound 'Lebanon', with its restricted viewpoint. But in actuality the two films aren't miles apart. Both are visceral, gritty and feel authentic and both portray the conflict in the region from a humanistic standpoint, whilst neither is overtly political. And as Maoz based his film on personal experiences as a young conscript soldier, 'Ajami' is also deeply personal to its directors.



Co-directed by a Palestinian (born in Ajami) and an Israeli Jew, in the form of Scandar Copti and Yaron Shani, 'Ajami' seems accurate in its portrayal a cross-cultural melting pot that sees Jews living alongside Muslims and Christians and where a grasp of both Arabic and Hebrew is essential to survive. So too is crime, as almost all the protagonists must break the law in order to make ends meet. One family is forced into thievery and drug dealing in order to pay off a debt to a powerful clan of gangsters. Another reluctantly turns to crime in order to pay for an operation for his terminally ill mother (admittedly, a somewhat hackneyed subplot). The Jewish police have to combat the Arab residents distrust and accusations of incompetence from wealthier citizens. In many ways it is like watching the Middle Eastern equivalent of an episode of 'The Wire'.

'Ajami' is an accomplished feature film debut from Copti and Shani. It is a polished film with a solid cast (including many non-actors) and its subject matter is certainly worthy of cinema. However, it is so much like those other films about criminality in poor and undeveloped, urban areas that it is questionable how trailblazing it is. Perhaps this similarity is part of a broader, more vital moral: that people are the same around the world and that poverty is the route of crime and intolerance. But in of itself 'Ajami' is indistinct in terms of its aesthetic or its take on the sub-genre. For that reason my vote would certainly have gone to 'Lebanon': a more original film. Though 'Ajami' is certainly no less compelling viewing.

'Ajami' is on very limited release in the UK and is rated '15' by the BBFC.

Book review: 'Mushroom Clouds and Mushroom Men' by Peter H. Brothers

Regular readers of this blog will know that I am a fan of Japanese cinema. Whether I'm banging on about the work of Kurosawa, looking forward to the next Kitano film or getting evangelical over the latest Miyazaki animation, I have written a fair bit about film-makers from that part of East Asia. So when I heard that there was an English language book on one of the most popular and influential - yet curiously most overlooked - Japanese directors, I was genuinely excited to read it.

That director is Ishirō Honda (1911-1993), the man most closely associated with the monster movies of the 50s and 60s: most notably 'Mothra' (1961) and the original 'Godzilla' (1954). Despite being one of the most commercially viable Japanese directors of his day (most of his monster movies made it into American theatres - albeit with changes) serious analysis of his work is hard to come by in the West. Stepping bravely into that void is Peter H. Brothers, with his comprehensive, film-by-film volume Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda.



Although, as Brothers himself points out, Honda was not exclusively a maker of fantasy movies (at least not early in his career) this book focuses on those films for which he was best known. Mushroom Clouds covers no less than 25 of his films in detail, looking at their production as well as providing decent analysis of their content and often their political context. These passages are, happily, bookended by chapters on his life before, during and after the monster movies. These chapters are written in the form of a narrative in chronological order and help to provide a decent context in which to put the films, as well as proving perhaps the most compelling read as they look at Honda the man.

Almost equal attention is paid to several of Honda's most frequent collaborators: his producer at Toho, Tomoyuki Tanaka (1910-1997), his longstanding composer, Akira Ifukube (1914-2006) and, most significantly, the man behind the visual effects, Eiji Tsuburaya (1901-1970). Ifukube's scores are deconstructed in some detail by Brothers, whilst Tsuburaya is afforded a lot of praise for his work and influence - heralded as the Japanese equivalent of Ray Harryhausen and Honda's "true mentor". As a result, the book is just as informative about Japanese cinema of the period and the studio system as it is about Honda himself.



Brothers clearly has a great knowledge of these movies and seems to know the supporting actors and crew members from this era of Japanese film as well as anybody. However, his appreciation of Honda's movies can at times make the book seem fannish, rather than academic. This is not necessarily a criticism, as sometimes it is nice to read something so celebratory, but the level of enthusiastic praise reserved for even the campiest of these films at times left me incredulous. Instead I rather enjoyed the book as a narrative history told by an enthusiastic guide. There is certainly an element of melancholy in the story of Honda's life as a director which is never really addressed by the author.

Honda was, like many Japanese people of his generation, a very loyal company man. He never worked for anyone but Toho all his life and seemed to feel very restricted by the monster movies he was contracted to make - ironically the very films Brothers book celebrates as it is equally guilty of marginalising his other work. He also found his career interrupted by military service and when he returned found that many of his subordinates had been promoted above him. As a result it took him far longer to become a director than some of his contemporaries, including his friend Kurosawa, for whom he worked as an assistant (at both ends of his directorial career). There is an unspoken feeling, reading between the lines, that Honda was never allowed to become the film-maker he could have been. Although Brothers chooses to celebrate the care he put into his fantasy work and finds lot of examples of how his monster movies are far more humanistic and character driven than they were really required to be.



Some interesting themes are left unexplored, such as the sexpoitation aspect of the 1957 film 'The Defense Force of the Earth', the plot of which involves aliens capturing Earth women for cross-breading, and the significance of the US title change of the 1956 'Radon, the Monster From the Sky' to the less overtly metaphorical 'Rodon! The Flying Monster'. And whilst Tsuburaya's work was evidently amongst the best effects work of the day - and the most influential (prior to Tsuburaya, Japanese studios didn't even have dedicated visual effects departments) - his work has not aged well compared to that of his American contemporary Harryhausen. For instance, comparing the model work from 1953's 'The Beast From 20,000 Fathoms' with the laughable man-in-a-suit work seen in 'Godzilla' a year later does not favour Tsuburaya.

That is not to demean Tsuburaya, but just to say that the level of praise reserved for his work in the book is difficult to take seriously, especially the claims made to its realism, with audience members apparently asking Honda where he got all the military equipment from after one film. As upbeat and sanguine as Honda seems to have been, one can't help but wonder whether he really saw himself as the director of film's like 'MechaGodzilla's Counterattack' (1975) or whether he privately yearned for more.



But then I think that is the point of Brothers' book. Rather than apologise for these campy movies, he has chosen to find the good in them. He has looked at them and is trying to bring to our attention the things of value that Honda was able to bring about within these fantasy pictures. And he does so with palpable love of his subject and real verve, which as a result prevents the book from ever being dull or too dry (at least for anyone pre-disposed to read about Japanese movies). Brothers manages to locate some genuine humanity and even some poignant moments in all of these increasingly absurd films, which is laudable in itself. Perhaps in doing so he is a brave defender of all the easily dismissed fantasy films of the 50s and 60s.



Perhaps a definitive, more sober look at the cinema of Ishirō Honda is still yet to be written. However, Mushroom Clouds and Mushroom Men is a long overdue celebration of a much-maligned film-maker with an equal claim to fame and influence as his better known contemporaries. Perhaps, given more opportunities and with more good fortune, Honda would have emulated Kurosawa and made more than one great film ('Godzilla'). After all, he directed entire segments of some of Kurosawa's later films, most notably two whole segments of 'Dreams' in 1990. The director once told a colleague: "Unless your film is caught in the critic's net, it will be washed away into history." If nothing else, Brothers' book is the first necessary step in ensuring that does not happen to the films of Ishirō Honda.

Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda by Peter H. Brothers is available now here.

'Skeletons' review: An amiable and gently amusing British comedy...

Last week I hosted a Q&A with Nick Whitfield, the writer and director of the low budget British black comedy 'Skeletons'. The film won the Michael Powell Award for Best New British Feature Film at this year's Edinburgh International Film Festival and stars two relative unknowns, Andrew Buckley and Ed Gaughan. The duo play a pair of professionals whose job is to investigate the skeletons in their clients (literal) closet. But the pair have their own difficulties with the work, as Buckley's Bennett gets too empathetic towards his clients (whose vices range from secretive Latin dance lessons to use of prostitutes), whilst Gaughan's Davis is "on the glow" (addicted to using the procedure to revisit his own past) - a fact the duo must disguise from their boss, the Colonel, played by Jason Isaacs, in a spirited and memorable turn as a gruff Yorkshireman.

The first feature film from Whitfield, 'Skeletons' is a beneficiary of UK Film Council funding, without which the film would never have been made, according to the director. Shot on location across the Midlands, the film is primarily set in the countryside as the besuited protagonists walk from job to job. The film's best moments occur during this walking, as Davis talks about such topics as the lack of moral ambiguity surrounding Rasputin. The interplay between the two leads is funny and Gaughan in particular is really watchable. Written with the two actors in mind, the dialogue and characters are perfectly suited to these actors. The film feels something like a cross between 'Ghostbusters' and 'Alan Partridge' - mixing the spiritual and paranormal with the mundane and the regional.



There are instances where the comedy misfires slightly, with a tired, sub-Chuckle Brothers exchange of "you're unprofessional", "no you're unprofessional", "no you're being unprofessional" being among the less successful moments. But generally the film is gently amusing throughout, even if never side-splittingly hilarious. That may sound like faint praise for a comedy film, but 'Skeletons' gets along fine with these gentle laughs of approval, with its pleasant and amiable tone. It is also uncommonly ambitious and fantastical for a low budget British feature. There is no gritty, kitchen sink realism here as we plunge into territory not too dissimilar from that recently mined in Christopher Nolan's (much bigger budgeted) 'Inception': not only in its premise, but in its fascination with the nature of reality and with Davis' character mirroring DiCaprio's Dom Cobb as he finds himself haunted by the past.

It is refreshing to encounter a film of this modest means which isn't frightened to tackle the imagination and isn't afraid to get quite abstract and surreal (it is a film where an accident can turn you Bulgarian and a man can live in a rusty old landlocked boat next to a power station). With 'Skeletons' Whitfield also shows that he is not shy about combining this humour and inventiveness with genuine emotion - the film ultimately being about loss and acceptance. 'Skeletons' is not perfect, but it is a pleasing and intriguing debut film from a writer and director with a unique voice in British cinema, and perhaps it forecasts something wonderful for the future. If he can get the funding. Let us hope that the demise of the UK Film Council does not put a premature end to this emerging talent.

'Skeletons' is rated '15' by the BBFC and is still touring the country accompanied by its director, Nick Whitfield, who is doing Q&As at selected Picturehouse cinemas. A full write up on the Q&A will appear on this blog during the week.

'Separado!' review: a cultural oddity in an experimental style...

Gruff Rhys, the man behind the Super Furry Animals, has co-directed, written and starred in a documentary so small that, at the time of writing, it is still "awaiting 5 votes" on the IMDB. That film is 'Separado!', a quirky little movie, less than an hour and a half long, which charts Rhys' journey from Wales to Patagonia (South Argentina) in search of his distant relatives who joined many hundreds of Welsh in emigrating to that part of the world in the late 19th century. On his journey, through Brazil as well as Argentina, Rhys traces the legacy of his Welsh ancestors and looks at the interesting musical hybrid between Latin and traditional Welsh music which can still be heard in parts of South America today.

It all started when Rhys saw an Argentinian gaucho singer named René Griffiths singing in Welsh on BBC Wales as a child. After finding that they were in fact related, the musician became interested in tracking down the man himself. On his journey to find René Griffiths, Rhys meets many other distant relatives and encounters a whole range of other musical performers, including a Brazilian musician who has invented his own instrument - a cross between a guitar and a drum machine. He also puts on several low-key concerts and looks a little bit at the cultural, historical and economic causes and effects of this strange chapter in Welsh history (which apparently played a key role in Argentinian history too - allowing the government to successfully claim the disputed South from neighbouring Chile).



On this trip we see that many Patagonian places have Welsh names and that many still speak the language. Rhys even manages to meet an old man who is closely and directly descended from the original Welsh settlers (who is also proudly in possession of the first organ brought to Argentina by these pioneers). Impressively, he does all of this speaking three languages over the course of the film, speaking Welsh, English and having a decent command of conversational Spanish to boot.

All of this is shown in a really surreal and unconventional way too, with Rhys teleporting himself between locations after donning a huge Power Ranger helmet, and with many bizarre and trippy musical interludes. In fact the film is as much about making music as it is about anything else. There is really nothing to criticise here. The film is barely long enough to get boring. The history is fascinating in itself and seeing the modern Welsh communities of Patagonia (and hearing their music) is an intriguing cultural oddity. Rhys comes across very well too, and spending time in his company is hardly a chore, even for someone who isn't a fan of his music, such as I (not because it's bad, but because I am not familiar with it).

Perhaps the movie could put many off with its unconventional and experimental form, but even then the chance to see this South American road trip is too good to miss. It also has a serious point, underneath all the quirky-ness, about how important it is to hold onto cultural identity - a fact which is perhaps more pressing today for Welsh-speakers than it was in the 1860s. There is also the brutal irony (not lost on the filmmakers), that in escaping persecution from the British, like many other colonials, the Welsh played a part in the persecution of another native people (in this case the Tehuelche, who were removed by the Argentine government now in control of the region). If you can find it playing and have even a minimal interest in any of the above, then there is probably something for you in 'Separado!'.

'Separado!' is so small it hasn't even been rated by the BBFC. But it can be found playing one-off shows at various cinemas, including many Picturehouses.

'Le Concert' review: If Jim Davidson could play violin...

'Le Concert', directed by the Jewish Romanian-born director Radu Mihaileanu, is a big cultural melting pot of a movie. On the surface (and from most posters) a French production boasting 'Inglourious Basterds' star Melanie Laurent, though many of the actors and much of the dialogue is Russian. Fitting then that the story concerns a once-great Orchestra conductor, Andreï Filipov (Aleksei Guskov), thrown out of the Bolshoi for standing up against racial intolerance towards Jews under Brezhnev. But, 30 years after the this injustice, Filipov intercepts an invitation to play in Paris, intended for the Bolshoi and resolves to take a rag-tag group of Russians, from all walks of life (including a wealthy oligarch), to France disguised as the professionals.

Yet, for a film which makes a feature of the fight against racially motivated intolerance, 'Le Concert' is pretty happy to indulge in stereotype. Uncomfortably so: the orthodox Jewish musicians miss practice because they are hawking their wares across Paris from out of a suitcase; the unskilled workers immediately leave the hotel and become illegal immigrants working menial jobs; the gypsies make their living from stealing and forging documents and an Arab restaurateur threatens one patron by saying "they call me Muhammad Al-Qaeda". Some may see this as a good-natured celebration of difference, but I couldn't help but squirm uncomfortably in my chair as racial caricature after racial caricature was exploited for humour in this movie which very quickly descends into farce.



'Le Concert' certainly thinks it is a comedy and it isn't afraid to go pretty broad with it. An oligarch's daughter's wedding is marred by an all-out gangland shootout, for example (which feels as misjudged and out of place as it sounds), whilst the gypsies fake 80-odd passports very publicly at an airport. Maybe this is a very broad cartoonish way of commenting on corruption and criminality in contemporary Russia, but it strains credibility. Especially as the film plays it relatively straight at other points. It is also a film which is terrifically critical of the old Soviet Union and communism, with plenty of jokes about the old regime, so adding that to the cynicism about the modern era, you get a film which is pretty nihilistic.

Melanie Laurent is the film's saving grace, as she has an intensity about her which is always stirring. She is one of those actors who can communicate so much with a subtle change of expression. Aleksei Guskov is also pretty good, always portraying his character with a touching sweetness as well as a dangerous obsession. But mostly everyone in 'Le Concert' shouts their lines at one another in a way which is very unappealing and engaging. It is a film which seems to hate Russian people. For example, when the 80-odd strong Orchestra arrives at their hotel they are all continuously shouting all at once, bursting through the doorway en masse and surrounding the hotelier, waving their arms in the air frantically. These people are idiots, their characters thinly drawn and unsympathetic and, as a result, their plight is uninteresting.



The film scooped several César awards earlier in the year, for Best Sound Design and Best Music, and these were probably deserved. The Tchaikovsky music performed at the titular concert is mesmerising and intense. The fact that the final scene is more or less a long unbroken musical performance is the film's strongest suit - and in that respect it ends of a high note (no pun intended). But for much of the film's running time, it is nothing more than a misfiring comedy of racial difference that feeds off the very intolerance it claims to be in opposition to. A woeful film.

'Le Concert' is rated '15' by the BBFC and is still on a limited release in the UK.