hamiltontak
20.05.2021 4:52:29
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After the film, Murray took to stage as a Steinway piano was wheeled on. “I know many of you wish to leave,” he joked. “We will not allow it.” After playing an opening number, Murray quipped, “We’ve come all this way, what did you think we were just going to do one song?” more
With Cannes winding down tonight—just one last movie in the festival’s official selection, by Gaspar Noe, was left to play—Bill Murray took to the stage at the Debussy theater with cellist Jan Vogler, pianist Vanessa Perez and violinist Mira Wang for a 25-minute concert of music following the premiere of Andrew Muscato’s doc New Worlds: The Cradle of Civilization.
The film captures Murray, Vogler and friends’ concert in June 2018 at the Acropolis in Greece, in which the ensemble blended classical music, jazz, poetry and literature for an eclectic evening of art, at the culmination of their European tour. It was trumped as “a program that showcases the core of the American values in literature and music,” and featured monologues, singing, and plenty of comedy from Murray as the talented trio of musicians backed him up. The show blended Walt Whitman, George Gershwin, Van Morrison, Leonard Bernstein and Bach, to name a few.
Instead, the audience was rewarded with several numbers, culminating in a performance by Murray—in flawless French—of ‘Aline’, a legendary French number first recorded by Christophe in 1965. Festival chief Thierry Fremaux swayed excitedly in the audience as the Debussy crowd took to its feet to sing along. It went unremarked by Murray, but eagle-eared Cannes longhaulers would have noted that the same song appeared earlier in the festival, covered by Jarvis Cocker on a jukebox at the Cafe Sans Blague in Wes Anderson’s The French Dispatch, in which Murray, of course, stars.
At Tuesday’s opening screening of Emmanuel Courcol’s crowd-pleasing comedy drama “The Big Hit,” the security measures were more elaborate than ever; the state-of-the-art auditorium was at full capacity; and the screening was prefaced by a typically effusive introduction from Cannes delegate general Thierry Fremaux, among others.
Fremaux’s remarks, and those of festival president Pierre Lescure and Cannes mayor David Lisnard, both looked back at the edition that never was, and forward to what the festival might look like in years to come. more
But in describing the pared-back program, which features the aforementioned “The Big Hit,” along with Naomi Kawase’s “True Mothers,” Dea Kulumbegashvili’s San Sebastian winner “Beginning,” and Bruno Podalydès’ “The French Tech,” Fremaux laid out a roadmap for how the festival perceives itself and how it might operate going forward. here
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