WE ARE THE ORCHESTRA (Nous l’orchestre)
Reviewed by Amalisha HuEck
HIGHLY RECOMMENDED – Powerful Documentary
Thirty years ago, a program of French films found a home in Hollywood. This November, The American French Film Festival (TAFFF) opened its 30th edition at the Directors Guild of America (DGA) and brought to us over eighty films: four animations, four documentaries, fourteen short movies and feature films. We enjoyed a week of Premieres & Awards at DGA using Theatre 1 as a Renoir theater, and Theatre 2 as a Truffaut theater.
By Franco-American cultural fund ‘We the Orchestra,’ premiered at The American French Film Festival on Nov 7 at 11 am. Written and directed by Phillipe Beziat a documentary maestro, takes us on musical excursion into the very heart of the Orchestra de Paris, ‘under the baton of wunderkind Klaus Makela, to reveal what it actually feels and sounds like to be a part of a perfectly synchronized, 120-person musical force of nature. Musicians share both the thrill and frustrations of being an artist within such a rigid, work-a-day structure, sitting side-by-side, year after year, with colleagues who may not see eye-to-eye, yet somehow manage to find the chemistry required to play in perfect unison. Also, the music is nothing short of sublime.’
We Are the Orchestra opens with fireworks on the screen; the music is playing behind. A young conductor, very enthusiastic and expressive, calls for ‘Hollywood sounds’. The camera is moving up the stairs, giving us images of the building.
What an impressive conductor! Some of the Orchestra musicians enjoy his energy, and for some, it is too much. Every new conductor must establish trust, and in time working together that is created.
Everyone must be perfectly in sync as a part of the orchestra. If the strings are not together because of distance, they are not able to hear each other. It is impressive how the conductor manages to hear every instrument in the whole Orchestra and correct them. It was such a delight to watch a 97-year-old conductor who knows everything and notices everything. Sadly, he passed away just recently.
Also, everyone in the orchestra feels useless at some point. For example, when the focus is put on the English horn – leading, which is kind of a melancholy instrument, everyone else – waits. When they all perform, the intensity of the horn cannot be louder than other instruments. They all must sink together, keep the same intensity. For 40 years, the members of the orchestra spend a lot of time together and they know each other well. Being a part of the orchestra is like a forced marriage.
It is obvious that the director Phillippe Beziat has a strong plan for the music to be heard. The commitment to create experience for the musicians and to get the music to be moving for everyone in the audience – is to get into the heart of the people. Beziak had 100 microphones inside the orchestra everywhere and 3-4 cameras operating each day. They rehearsed for 4 days during the week for 6 hours a day. It took a full year to organize the filming before they started filming. The music performed is being chosen; Bartók, Stravinsky, Shostakovich, Korsakov, Bruckner, and the rehearsals are being filmed as well as performances. Filming the music is like being a hunter – following prey. The greatest Orchestra in the world needs chemistry between them.
Organizing everything is a mastery. The director is not the musician, but the conductor. He did an amazing job sharing how players in the orchestra must become a part of collective art, because ART is like exploring a new country, new world.
This is a perfect Film. Perfect direction. Many risks are taken. Everything is organic. Discipline is super important. There is a loose narrative in a concise flow. I highly recommend this gorgeous, uplifting film, which I believe has a big chance of being nominated for an OSCAR.
The camera work is fantastic from slow-motion to capturing the hands playing, the expressions on musician’s faces, the frustration, the worry, the joy. Sound is everywhere. A few shots of an ear are shown, emphasizing how important the hearing is. Beziat had a lot of experience in filming music for TV programs, so he was familiar with filming the sound. Using shots from the rehearsals are very helpful, as well as using the coverage out of order.
Editing plays is a crucial part in every film. Cutting and tuning into the Instruments and making a space for some of the instruments to shine, it is called perspective mixing. Catching breathing, little conversations, staring at the faces, watching the hands doing its magic. It’s like silent movies with titles and images.
It was exciting listening to Q&A. Brat Morgan, the director from DGA, interviewed Beziat. Mediterranean catering ‘Palikao’ was there, providing a little lunch and promoting their business. Tasty meal, with shrimp, chicken, rice, and some veggies is served by Chef Lionel E. Pigeard.
The American French Film Festival went for the entire week of November 3-8.
I would highly recommend that you look for next year’s French Film Festival in Los Angeles.