It’s a paradox as old as art, and one that “Cyrano,” a new screen musical based on Edmond Rostand’s French-class chestnut, embraces with a risky ardor.
The few who object are marked as fools, phonies or outright villains.Īrtifice mobilized in defense of authenticity. The audience, which had paid to see Cyrano’s victim, nonetheless mostly applauds his humiliation. With cutting rhymes and a sharp sword, he defends dramatic truth against the woeful thespian’s powdered preening. Played with grace and gusto by Peter Dinklage, Cyrano emerges from a standing-room-only crowd to berate a pompous actor and drive him from the stage. aside from the incongruously English dubbed version of Kerity (the sister sounds like a digitized Brit and the parents seemed stocked with awkward dialogue).Cyrano de Bergerac is a lover and a fighter, but when we first meet him he is indulging in a brutal bit of theater criticism. Despite Rebecca Dautremer’s renown, I sadly found very little mention of her in the U.S. The caveat to this imaginative inheritance is Nathaniel’s illiteracy which is relentlessly mocked by his bratty sister and the impending collapse of his aunt’s dilapidated house. Kerity, directed by Dominique Monféry, is about a young boy named Nathaniel who inherits his aunt’s library and the real life stories contained within the books. Dautremer has recently brought her design talents and also her love of folklore to life in the animated salute to storytelling entitled Kerity: La Maison des Contes (the English title is Eleanor’s Secret). She has worked on such children’s book titles as The Secret Lives of Princesses and collaborated with her husband, author Taï-Marc Le Thanh, on an adaptation of the notorious child-napping ogress of Slavic-lore, Babayaga. Dautremer has a legacy as an illustrator with a soft spot for fairytales touched by a sense of humor.
The art of French illustrator Rebecca Dautremer is like stepping through paper windows into miniature, rouge accented worlds of wonder.
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