Cameo Cinema, Edinburgh
Frankie had its premiere at Cannes in 2019 and, for obvious reasons, has been waiting ever since for a UK release. Finally, here it is in all its underwhelming glory. Starring the seemingly ageless Isabelle Huppert in the title role, this is the story of a successful film and TV actor (so no stretch there) who, when she finds herself stricken by incurable cancer, summons her extended family for one last vacation in Sintra, an idyllic beach location in Portugal.
She’s accompanied by (amongst others) her husband, Jimmy (Brendan Gleeson), her wayward son, Paul (Jérémie Renier), her former husband, Michel (Pascal Greggory), and her close friend, Ilene (Marisa Tomei), who, we are told, works in the film industry, currently on Star Wars. Frankie appears to be hatching a scheme to matchmake Paul and Ilene, so it’s a bit of a nuisance when she turns up with a boyfriend in tow, cinematographer Gary (Greg Kinnear) – and even more of problem when he proposes. But Frankie is skilled at manipulating the lives of those who love her and she likes nothing so much as a challenge…
Ira Sach’s languorous film is a melancholy affair that sets a bunch characters down in an idyllic location, and then fails to give them enough to do. They interact with each other, but no great drama is generated through their conversations and not much in the way of interest, either. Frankie is a siren figure, the brilliant star around which all the others circle like satellites. As Jimmy says in a key moment, he cannot really envisage any sort of life ‘after Frankie’ and nor, it seems, can the rest of them. But is this enough to create a satisfying movie? Well, no, not really, especially when some of the characters remain enigmas.
Frankie’s daughter, Sylvia (Vinette Robinson), for instance, is going through a separation from her husband, Ian (Ariyon Bakare), but we’re never really sure why – and we learn even less about their teenage daughter, Maya (Sennia Nanua), other than the fact that she likes to spend time on the beach. (But then, who doesn’t, especially in a place like Sintra?) Huppert is as enigmatic as ever, giving an almost ethereal performance – although for somebody succumbing to the ravages of cancer, she appears to be in perfect health.
Ultimately, this is pleasant enough, but it fails to kindle enoughof sparks to set the proceedings alight.