Claude Lelouch’s ‘Finally’: A whimsical journey through time and memory
A return to familiar grounds
Five years ago, the renowned French writer-director Claude Lelouch revisited the pinnacle of his career with “The Best Years of a Life,” a poignant sequel to his iconic 1966 romance “A Man and a Woman.” This film, which marked the final screen appearance of stars Jean-Louis Trintignant and Anouk Aimée, felt like a heartfelt farewell. However, Lelouch, now 86, has continued to create, with his latest feature, “” serving as a whimsical reflection on his illustrious career.
A playful narrative
Premiering out of competition at the Venice Film Festival, “Finally” is a film that dances between narratives, perspectives, and periods with a buoyant, almost cartoonish energy. It treats even the gravest of matters with a light-hearted touch, making it a peculiar yet engaging watch. This 51st feature from Lelouch is unapologetically self-referential, filled with in-jokes and nods to his previous works, making it a treat for his most devoted fans.
Revisiting past characters
“Finally” picks up on characters and storylines from Lelouch’s earlier films, particularly the crime capers “Money Money Money” (1972) and “Happy New Year” (1973). The protagonist, middle-aged lawyer Lino Cassaro (played by comedian Kad Merad), shares his name with the career criminal from “Money Money Money.” This connection might suggest a commentary on the duality of man, or perhaps a simpler explanation that Lino Jr. is the son of the original character, now motivated to stay on the right side of the law.
A journey of self-discovery
Lino Jr., successful in his career and married to a much younger actress, Léa (Elsa Zylberstein), suddenly finds himself unable to lie due to a mysterious brain condition. This affliction leads him to abandon his life and embark on a walking journey across France. Along the way, he bonds with various characters, including a neglected farm wife (Françoise Gillard) who he encourages to watch “The Bridges of Madison County.”
A mix of tones and themes
The film also introduces Lino’s half-sister Sandrine (Sandrine Bonnaire), who continues her mother’s activism for sex workers’ rights. This subplot, along with haphazard World War II flashbacks, adds to the film’s eclectic mix of tones and themes. The jaunty jazz score by celebrated trumpeter Ibrahim Maalouf complements the film’s whimsical nature, while Lino’s newfound passion for trumpet-playing leads to memorable scenes, including a performance at Le Mans on race day.
A stream-of-consciousness style
Editor Stéphane Mazalaigue embraces blunt transitions and tonal shifts, creating a stream-of-consciousness feel. Maxine Heraud’s digital cinematography alternates between stylized and candid aesthetics, though it never quite captures the romanticism of vintage Lelouch. The film’s title song, performed by Merad and Eurovision star Barbara Pravi, provides an emotional climax, encapsulating the film’s themes of life’s relentless pursuit and embrace.
Final thoughts
“Finally” is a film that defies conventional storytelling, offering a whimsical and reflective journey through Lelouch’s cinematic world. It is a film for those who appreciate the director’s unique style and are willing to embrace its playful, sometimes baffling nature. For those unfamiliar with Lelouch’s work, it may be a challenging watch, but for his loyal fans, it is a delightful homage to a storied career.
For more information and to watch the trailer, visit Finally.
Keywords: Claude Lelouch, French cinema, whimsical journey, self-discovery, narrative, tones, themes, stream-of-consciousness, emotional climax.