Fortnight Publications Ltd.

Ireland Makes Its Mark on CannesAuthor(s): Jason JohnsonSource: Fortnight, No. 371 (Jun., 1998), pp. 24-25Published by: Fortnight Publications Ltd.Stable URL: http://www.jstor.org/stable/25559477 .

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Ireland makes itsmr

on Cannes

JASON JOHNSON

travelled to Cannes to see the Irish Film

industry take on Hollywood. He didn't see any films though.

That poster

You would be lucky to see a film at the Cannes Film Festival, but then not that many people come to see such things any more. However if you want to, then you will first have to be accredited. This is when you go along to the organisers with a fake business card and tell them you're a film producer and you have business at the place.

They believe you, give you an ID badge and you take that through a maze of corridors underneath the huge Palais, the quaking epicentre of the world's largest film festival, in search of an elusive lady behind a desk. For whatever reason she is kept far away from the corporate promotional stands that fill the belly of the building.

If you're early enough then you might just get tickets for something screening at one of the various cinemas that day. But, more often than not, you

won't be so lucky. You will probably end up with a ticket for a film the following day. And it won't necessarily be anything you would ever want to see.

It seems a lot more unorganised than it is. There are more than 30,000 industry people that get ac credited each year. Many of them will want to see films for professional reasons, better reasons than

mine, and they will be organised accordingly. Thus the chances of sell-out crowds are always high. Mind you, the tickets are all free.

It is an awesome machine that swings into action across the whole town each May. Cannes is not a huge place, perhaps a bit bigger than Derry, but somehow it is able to accommodate, feed and water everybody with the greatest of ease. Most of the rest of the year, we have been told, the place is dead.

There is of course, Cannes being where it is, a sizable tourist trade that lands there in the long summer months, but the biggest rush is for the film

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festival. It is the very reason for scores of the apart ment blocks and ultra lavish hotels. It is why there are so many comforting little bars dotted along the roads leading away from the La Croisette, the sea front thoroughfare where most of the action takes place.

A new one had appeared this year, an Irish one. Morrisons is one of these flat-pack, just-add-water

Irish pubs that have been springing up all over the world. For about ?4 you can settle back, away from the naked sun, sup a pint of Guinness and talk of home. But, honestly, there are better things to do.

Northern Ireland's main contribution to the whole thronging thing has so far been a risque billboard featuring that image from the cover of Colin Bateman's novel DivorcingJack.

More average punters will have noticed the nun with suspenders and a gun than the small Northern Ireland Film Commission stand at the British Pavil ion along La Croisette. And more distributors too.

The film showed to three full houses, and despite discouraging reviews, it was last seen flirting with distributors before packing its bags for a much-of the-world tour. The stunt, which promoters said

whipped all of the equally brash billboards for the omnipresent Hollywood movies, is thought to have cost somewhere in the region of ?100,000. Money

well spent. The Northern Ireland stand itself is, like all the

others, no more than a better dressed Nutt's Corner market stall. It is decked out with cultural triggers, relevant movie posters and production incentive blurb for the benefit of passing producers, directors and bean counterswho mightwant to stop for ayarn.

Some haven't been best pleased with the arrange ment. Last year a foot was firmly put down when the corner was in line for a draping with red, white and blue along with the rest of the UK stand. The protest succeeded and ensured that the bunting idea was dropped altogether from the British zone.

This year there were calls for an independent stand, a stand free from the colours of UnionJack or

Tricolour, but no one with executive powers backed the idea and it failed.

But these local difficulties must be kept behind the scenes. Out front, the Northern Irish have a wee stand and a big image. They talk about peace, recon

ciliation and cash to the increasing interest of passers by.

This year they even threw a 'Made in Northern Ireland' party, a crucial move if you want to be taken seriously, and guests included Barry Norman and director/Cannes jury member Michael

Winterbottom. A party critic for the Cannes Hollywood Reporter, who

24 F O R T N I G H T June 1998

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may be more used to cocktails with Miramax than Caffrey's with strangers, was, in his own way, cheered.

"The dress code didn't nmake for a suave evening," he wrote, "but the Irish cream added spunk to an evening that went well past its scheduled time".

But spunk is not all Northern Ireland has thus far brought to Cannes. One entrepreneur has, for the second year in a row, flown out from Belfast to work for various independent productions seeking to pro

mote their work. This was evident when Bruce Willis strutted into

town to announce the arrival ofAnnageddon, one of two new Hollywood films about meteorites bother ing earth. At that time the only slogan on the pave

ments of Cannes read 'Two Bad Mice-Screening Today'.

By the time he had wrapped up a press conference and headed along to a giant party, that message had

changed to 'Fuck Annageddon-See Two Bad Mice'. While not exactly marketing Northern Ireland,

the bold chalk graffiti was surely Northern Ireland marketing at its finest.

Last year the same pavement artist arrived from Belfast with a mission to promote cultArmagh-made movie The Eliminator. He was not without success.

This year his talents were hired by the makers of the low-budget American film and, for a time, by the Irish Film Board to promote the Derry and Donegal

made obscure thriller Sunset Heights. But there was a real cracker this year when a vanful

of Cockneys rolled into town to promote the as yet unmade movie Amsterdam. A large cannabis leaf was emblazoned on the side of the vehicle to get the point across.

The police ordered that a red line be painted through the symbol and the word interdit (forbid den) be painted underneath. The image is-take a deep breath-illegal in France, local reports said. They were further ordered to keep away from La Croisette under threat of four days in jail. Publicity was assured.

It has become fashionable this year to say that all the on-street marketing hype has wrecked Cannes.

Old hands lament that Hollywood has made the whole thing top dollar heavy and turned Europe's once finest celebration of cinema from an art-house to a whorehouse.

The Hollywood studios know there is a guarantee of hot publicity, a sea of excited star spotters and an

air of respectability ripe for the plucking. They work Cannes like a prostitute turning tricks on the world's media.

American promoters have by far the biggest pres ence, flaunting films that often are not even part of the festival, and they get thousands drunk when they throw the biggest parties in town.

And, with something of a trickle down effect, the unknown film-makers are these days turning up in their thousands to trade their wares in a place where, precisely because of the commercialism of the whole thing, more people are turning up, more deals are being done and anything goes.

There is the feeling there that the competing films are part of another show. Whatever brashness is going on out on the streets, it is not exactly damaging the cinematic standard of the festival. Godzilia (please

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God), or even Titanic are unlikely ever to stand a chance of winning the Palme d'Or at Cannes. No one pretends they will.

John Boorman was able to win home this year with the Best Director award for The General. The film, a portrait of violent Dublin gangster Martin Cahill, has probably earned more cinematic respect from

winning in Cannes than it would have anywhere else-Oscars included.

What has happened on the street is that the Ameri cans have led a marketing drive that is taking every thing in its wake. They know well that a launch in

Cannes, with all the fanfare and glitz that the likes of annual attendee Bruce Willis bring, is priceless PR.

Fair play to them. It's strange that no one will admit as readily as the Americans that film is no more than business.

The film festival is getting bigger, bolder and louder.

Divorcing Jack, it seems, wouldn't have been in with much of a chance with the distributors if Cannes was the sole territory of the art fa natic. It is not, of course, an arthouse movie. Northern Ireland should be thankful that Cannes has gone over the edge and is a new home for upfront, high impact

marketing. The irony is that the place

is teaming with British and Irish intellectuals grumbling that Cannes has sold out.

They should chill out. Don't believe the hype. Cannes is brash, ugly and full of sin all right, but for your aver age punter it's the stuff of

movies-not that you'll see any.

John Boorman's The General: Martin (Brendan Gleeson) listens as Gary (Sean McGinley) talks through a wired jaw.

Titanic Town

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I .. ... . .................................... ........ .. - ..: . . . . . . . . . . . . . . . .. . . .. . . . . ... . . . . ........... ........... ...........-.............................. ................... ..... ...... ................. . . . . . . . . . . . . . . . . .. . . .. . .. .. . . . . . . . . .. . . . . . . . . ........................................... ............ ... .............. ..... .................................... ........... .......... ...... .......... . ............. .......... ... .............. ............... ............................................ ................ . . . . . . . . . .. . . . . .. .. .. .. .. . . . . . . . . . . . . . . . . . . . .. .. .. .. . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .. .. .. .. .. .. .. . . . . . . . . . . . . . . . . . . . . .. . . . . .. .. .. .. .. . . . . . . . . . . . .. . . . . . .. .. . . . . . I .. .. . . . . . . . . . .. . . .. . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . ............................................. . .............. . . . .. . .. .. .. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. . .. .. . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. . . . . . . . . . . . . . . . . . . . . . .. . . .. . . . . . . . . . . .............. ........................ ...................................I .......................... .............................. . ... I I.-I.I., .................. ......................................... ... . ......... . . . .. ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . ......... . ... . ........................... ........ .................................

June 1998 F O R T N I G H T 25

This content downloaded from 185.44.77.146 on Wed, 25 Jun 2014 02:33:06 AMAll use subject to JSTOR Terms and Conditions