The opening line sets up everything. The concept of America, a place to “make one’s fortune”, the heavy Italian accent. Soon we discover he’s an undertaker – a man who profits from death – and it all falls into place.

There are great films, capital G-F Great Films, and then, there are those films admitted to the VIP table behind the velvet rope, those seriously discussed when the question of the Greatest Film of All Time is raised. KANE. CASABLANCA. VERTIGO. RULES OF THE GAME. 8 ½. Few films from the last four decades are invited to this gathering of cinematic high rollers, but the first admitted is, nigh-unanimously, Francis Ford Coppola’s 1972 masterpiece, THE GODFATHER*.

(* Arguably, the only picture post-1970 afforded more gravitas is Coppola’s uber-sequel THE GODFATHER PART II, but that’s another piece for another day.)

There’s an excellent reason for this: THE GODFATHER is stunningly, bewilderingly, intricately and – it must be said – damn near accidentally, brilliant.

1. “I want them to smell the spaghetti.” – Robert Evans

Mario Puzo’s 1969 mafia (a term the film famously avoids) novel, detailing a decade-long rise to power of the Italian-American Corleone crime family, was a massive bestseller upon release, prompting Hollywood to flog an inexpensive adaptation to the screen, post haste. After being turned down by big names, Paramount honcho Robert Evans decided an Italian-American perspective on the subject matter would help, and he responded to Coppola’s plans to imbue the film with subtext on capitalism and the dark side of the American Dream. (The fact he was young and came cheap didn’t hurt.) A first-generation Italian-American, he knew all too well the notion of the humble immigrant carving out a new, larger identity in the self-styled Land of Opportunity. Paramount wanted stars, but Coppola craved authenticity. He lobbied the studio with casting choices that, to them, seemed unorthodox: real, Italian faces. Unthinkable as it is now, the studio didn’t want Al Pacino. (Their hilarious preference: Robert Redford.) Marlon Brando developed a look and voice for patriarch Vito that must have seemed bizarre in person – the man stuffed cotton wool in his cheeks, for pete’s sake – and Coppola’s cast of little-known New York actors and non-professionals had Paramount terrified. However, the director’s tenacity (which continued throughout the shoot, from which he was threatened to be fired from daily) paid off, and his crusade for verisimilitude informed every part of the production. The protagonists’ criminal dealings aside, THE GODFATHER embraced Italian culture in a way few American films had to that point, and introduced it to the world at large. The film is steeped in ritual, in Italian-language asides and gestures, which gives the picture a living, breathing heart any number of mob wannabes before and after painfully lack.

2. “Both the Mafia and America feel they are benevolent organisations. And both the Mafia and America have their hands stained with blood…” - Francis Ford Coppola

Coppola mined Italian organized crime for its true, heretofore unearthed operatic dramatic potential, giving it Shakespearean weight. His GODFATHER is a story of a King, Don Vito Corleone, with three indulged princes in waiting: the eldest, dim Fredo (the amazing John Cazale, believable and often amusing in his impotence, right up until he breaks your heart), firebrand Sonny (James Caan, arguably still American cinema’s most iconic symbol of urban Italian masculinity) and the youngest son, Michael (Pacino – we’ll get to him). Then there’s the women; matriarch Carmela (Morgana King), who provides emotional support to the family but, in this old-world hierarchy, holds no power and scant profile, and the princess – in every sense of the word – Connie (Talia Shire, Coppola’s real-life sister, draws a bracingly solipsistic character). Then there’s the adopted scion, the shrewd Tom Hagen (Robert Duvall, brilliantly embodying pragmatism, and the closest thing to a heart the film has), whom Vito and Carmela adopted as a child and put through law school.

Vito created an empire of criminal enterprise with a veneer of honor and, to the best of his ability, tries to pass this ethos on to his kids (what parent can’t relate to that?), with varying degrees of success. The fruits of American prosperity have poisoned his brood – indulging them in wealth, privilege and an overblown sense of entitlement. Only Michael, who joined the army to defend his country in World War II, and Tom, who has a curious relationship with the Corleones (he’s loved like a son, but constantly reminded he isn’t “blood”) seem to have escaped this. Then there’s the immense roster of outstanding characters drawn into their vortex: affable but ruthless Clemenza, loyal and inarticulate Luca Brasi, sage but opportunistic Tessio, immature schmuck Paulie, brazen antagonist Solozzo, megalomaniacal studio boss Jack Woltz, smooth and scheming Don Barzini, and so on. This depth of characterization is a massive testament to the world Coppola and Puzo fleshed out; few stories outside of Shakespeare boast this many indelible characters.

The picture takes a stunning detour when Michael decides to avenge his father’s assassination attempt, and must flee to Sicily. This vignette would derail most films, but Coppola and Puzo give it a feel of both old-world purity and almost Wild West-like danger that informs everything that happens back home. We’re with Michael on his journey into darkness, because we like him, fearing what’s to come of him. When he returns to America, ready to rule, we believe his transition. Pacino’s transformation from shy, all-American kid to calculating criminal overlord is a marvel, all the more startling when one considers it was just his third feature film role. After all, THE GODFATHER’s story is Michael’s.

Because Michael is America: Starting out idealistic, chivalrous and hardworking, then surrendering to greed and hot-blooded emotion, building a fearsome empire. Brando’s Vito, the warm counterpoint to Michael’s cold efficiency, is the old world, embodying the good intentions the Cosa Nostra system was built upon: preservation of community, tradition and family. Don Corleones past and future present a fascinating dichotomy of the psychology of organized crime, capitalism and even fatherhood.

3. “Possibly the greatest movie ever made, and certainly the best-cast.” - Stanley Kubrick

To match the gravity he and Puzo brought to the script, Coppola built the picture to last. The film’s palette is deep mahogany and deeper shadow. Gordon Willis’ dark, clandestine cinematography inspired a generation of cameramen (earning him the nickname “The Prince of Darkness”) and gives the film the conspiratorial backroom feel it requires, without the need to go verite. It also gives the film a bleak patina, and when the film goes outdoors – such as Clemenza and Paulie’s drive upstate – proceedings feel even more exposed, and downright shocking. Walter Murch’s seamless editing moves the story like a rocket, makes its every shift and whim perfectly clear and races through a decade without ever feeling hurried, imparting all the information we need and not a frame more or less. Nino Rota’s score is as instantly recognizable as any committed to film, and its ever-present horns and strumming give the film a powerful echo of the old country, like a rapidly fading memory.

4. “The first movie wrapped up everything.” – Francis Ford Coppola

It strikes me that I’ve gone on for almost 1300 words about this, and yet I feel as if I’ve barely scratched the surface of why THE GODFATHER gets my vote for the Greatest Film Ever Made. Without dropping spoilers (I’m sure some lucky sod will read this and see the film for the first time, and I don’t want to rob them of a glorious experience, so allow me to err on the mafia code of omerta), here are some more reasons for those in the know:

The entire opening sequence. Luca Brasi practicing his speech. “That’s my family, Kay. It’s not me.” “Never tell anyone outside the family what you are thinking again.” “My Kraut-Mick friend.” Woltz’s entire riff on Johnny Fontaine. The fate of Khartoum. Clemenza ribbing Michael about calling Kay. “Nice college boy, huh?” Sonny’s reaction to Connie’s bruise. “Leave the gun. Take the cannoli.” The tollbooth. “He was banging cocktail waitresses two at a time!” “You don’t come to Las Vegas and speak to a man like Moe Greene like THAT!” Vito’s heart-to-heart with Michael in the garden. The entire christening sequence. Willi Cicci’s chilling stare, blasting into the revolving door. Vito lying among the oranges. “Don’t ask me about my business, Kay.” The door closing. The credit font–

5.

Okay, let’s be honest: Every second of every minute of the whole damn thing is my reason. THE GODFATHER is the capo di tutti capi of motion pictures.

Paul Anthony Nelson - follow Paul on Twitter here: @cinemaviscera 

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David Hemmings (Blowup) stars as Marcus Daly, a pianist and music teacher living in Rome, who investigates the shocking murder of a psychic medium, who lives in Daly’s apartment building. After his desperate attempt to save her fails, he becomes obsessed with finding the murderer. The killer strikes several times, eliminating people who have learned something about their identity, but as Daly digs deeper into the complex web of affairs, he uncovers a sinister secret inside a deserted old house.

Dario Argento

Argento’s excessive violence can often be too much for viewers, and the killings in Deep Red are bloody and R-suitable brutal. But Argento’s willingness to take his horror to the next level ensures that his films break new territory. The killings may be distressing to watch, but they vary, and are accompanied by lengthy build-ups of suspense. One brilliantly directed scene plays out in familiar fashion, but this time there is an extraordinary misdirection, which in-turn gives the audiences this false sense of relief. Since his directorial debut, which also happens to be one of his best films, The Bird With the Crystal Plumage (1970), Argento has been developing his craft, but here his genius becomes fully realized.

The Photography

Deep Red has been called “one of the most beautifully shot horror films ever made” and such a claim is understandable. In addition to be terrifying, it is also visually stunning. There are some great interior set pieces used – Helga Ulmann’s apartment, Dr. Giordani’s house, the old abandoned mansion and the Da Vinci School are some examples – and the lengthy hallways and large spacious rooms ensure that Argento has plenty to work with. The way his camera sweeps around the rooms, cutting between the character in danger, and the POV of the killer lurking in the shadows, creates mounting tension. The exterior widescreen compositions are brilliant too, with the streets often close to being completely empty, the lighting casting high shadows.

The Score

Deep Red’s wonderful score was composed by prog rock band Goblin (who would become Argento’s primary collaborators, following a disagreement with Ennio Morricone on Four Flies On Grey Velvet). Though Suspiria’s main theme is more famous, perhaps, I don’t think Goblin ever again matched this work. Phenomenal. Here’s a sample of the main theme:

The Amateur Detective

What I love about this film, and Argento’s other giallo classics is the fact that the sleuth protagonist is not a detective, but a regular person caught up in the mess by either being indirectly involved initially or becoming obsessed. Marcus is a music teacher and he finds colleagues in an attractive reporter and a doctor. He is convinced that the police have missed something, and begins to investigate. Hemmings is terrific, and with Argento’s films usually not renowned for the great acting, this is a rare exception.

The House

There is a lengthy sequence quite a bit into the film where Hemmings’ character is exploring an old house (under torchlight of all things). He is just walking around – but because we have come expect that anything could happen in this film, we hold our breath. The eerie house – one of the great horror set pieces, I think – is made to feel threatening, purely through Argento’s use of the camera. When Daly arrives, there is a shot from one of the high windows of the house. Is it a POV shot from someone inside watching him? It could be. We don’t know. The score accompanying this scene works perfectly, and how this extended sequence ultimately progresses the story is why this is Argento’s smartest and most attentive screenplay.

Andrew Buckle - follow Andy on Twitter here: @buckle22

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After the death of Alan’s (Zack Galifinakis) father, his friends aka The Wolf Pack (Ed Helms, Bradley Cooper and Justin Bartha) decide he needs to be treated for “mental issues”.  En route to a medical facility the group get kidnapped by a gangster (John Goodman) who demands they track down his nemesis, Mr Chow (Ken Jeong).

There is not a trace of humour to be found in Part 3.  It’s mean spirited and the “comedy” crafts jokes from mental health issues, pointless profanity and dated Asian stereotypes.  In the opening moments a giraffe gets decapitated.  Remember when Fonzie jumped the shark on Happy Days?  The moment has become synonymous with bad television and maybe “decapitating the giraffe” will eventually be synonymous with bad films.  I was honestly waiting for someone to beat up a person in a wheelchair, but instead, co-writer/director Todd Phillips and screenwriter Craig Mazin, have a character chastise an elderly woman on an electric scooter. Jeong’s portrayal of Chow is as subtle as Mickey Rooney’s appearance as Mr Yunioshi in Breakfast at Tiffany’s and it’s sad the actor would agree this kind of humiliation.  Even Galifinakis’ “man-baby” act is transformed from an odd misfit to an ignorant moron.  Helms and Cooper barely register a presence in the film and they wander around like ghosts with big dollar signs in their eyeballs for the big payday they probably received to return for this nonsense.

The film scraps the concept of retracing steps from a heavy night of drinking in place of a road film.  It changes up the approach already taken in the two previous films, but it’s such a forced approach and the lead actors share uncomfortable screen time going from location to location well aware the teat is running dry.

The only positive to come out of The Hangover Part 3 is that the future of this series continuing may have been snuffed out.

Half

Cameron Williams - follow Cam on Twitter here: @popcornjunkies

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Here are the top Hanks films according to the GWP staff.

10. Road to Perdition: Michael Sullivan
The second film from Oscar Winner Sam Mendes’ (based on the graphic novel) featured Hanks showing the loving tenderness behind brutal Irish mob enforcer Michael Sullivan. The true highlight of Perdition comes as the legendary Paul Newman and Hanks jointly play a melancholy ditty on a piano.

9. Cast Away: Chuck Noland
Wilson! Yes Hanks second pairing with Robert Zemeckis sees him as our favourite Fed Ex man turned survivalist. This role is truly a testament to his bravery and magnetism as a performer. In a role that required not only an extreme physical transformation Hanks was required to carry the entire film, and fashion the first ever best supporting beach volleyball.

8. Cloud Atlas: Dr. Henry Goose / Hotel Manager / Isaac Sachs etc
It’s wonderful to see that as he’s aged Hanks isn’t afraid to take risks. In the Wachowski’s and Tom Tykwer’s truly one of a kind Cloud Atlas Hanks plays 6 (Check that) count ‘em 6 characters spanning from different times, with different dialects/races etc. The highlights are in the moments you feel Hanks is able to project the experience of his characters’ timeless soul in mere glances. It exponentially heightens the experience.

7. A League of Their Own: Jimmy Dugan
Drunk, cantankerous, grotesque AND loveable. Only Hanks embodying Jimmy Dugan could manage that balance. And who could forget his delivery of that infectiously quotable line –  ”There’s no crying in Baseball!”

6. The Green Mile: Paul Edgecomb
Faced with, for the most part, the most horrible human specimens it’s Hanks’ performance as empathy incarnate that anchors the audience to the reality of government sanctioned death. It’s also a testament to Hanks to stand out in the shadow of Michael Clarke Duncan’s incredible performance as John Coffee.

5. Toy Story: Woody (voice)
Woody is one of the most iconic animated careers ever and Hanks’ neurosis and theatrics are essential to breathing him to life.

4. Saving Private Ryan: Captain Miller
Even though Hanks thought he was ten years too old for Spielberg’s incredible ode to war, he delivered a powerhouse leading performance as the literal captain of this ensemble.  Slightly overweight, malnourished and disguising his shaking hands are among his collection of imperfections that perfectly evokes the everyman that became heroes in the face of war. He ‘earns’ this praise.

3. Big: Josh Baskin
The body swap movie has been done to death, and often badly. Hanks’ sincerity and ability project the innocence of Josh through his eyes makes you adore him and ‘buy’ it throughout.

2. Philadelphia: Andrew Beckett
Oscar #1. In the wake of the AIDS fear mongering of the 80s Hanks’ everyman struggle of sexual persecution is an understated and relatable performance that garnered well-deserved praise. With fantastic supporting performances from Antonio Banderas, Denzel Washington and an ensemble of character actors this serious turn came to define Hanks’ career.

1. Forrest Gump: Forrest Gump
Oscar #2. Instantly iconic, perfectly pitched – there’s simply too many alliterative praises that you can heap upon Hanks’ Forrest.

Blake Howard - follow Blake on Twitter here: @blakeisbatman and listen to the audio review on That Movie Show 2UE here or on top-rating film podcast Pod Save Our Screen, available now on iTunes.

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That’s the question for this week’s GWP Roundtable: Which film deserves a sequel?

Kwenton Bellette

It would be great to see Quentin Tarantino (QT) do Kill Bill Volume 3 (V3) that deserves, nay, demands a circular logic ending to the trilogy! It is unfair and cruel that after many years of hinting and hoping QT has called V3 off. It makes so much sense given the end of The Bride’s story, but the beginning of the complexities of a revenge fable. Tsk tsk.

I also have to mention Washington here too (Lars von Trier’s America trilogy with Dogville and Manderlay) that also will not happen… Grrrr.

Lisa Malouf

I would have loved to have seen two sequels to Ferris Bueller’s Day Off. One in 1989, when he’s at college, and another in 1992 after he’d graduated and entered ‘the real world’. They would have to have been directed by John Hughes, and star Matthew Broderick. I think it would have been really interesting to see the Ferris character age slightly, and to learn if his ‘golden touch’ translated into the world of college and then the workforce. And of course each of these subsequent films could have had to have had a scene where Ferris does an unscheduled performance in a passing street parade.

Maria Lewis

For me it’s The Losers. Great adaptation of the comic & there’s many, many more stories to tell within that universe.

Nicolas Brodie

If there was anything begging for a sequel right now, this is it. Released to critical acclaim last year and then going on to pull in moderate figures at the box office, Dredd is up there with The Dark Knight and Sin City with regards to getting an adaptation right.

A sequel was talked about for some time and writer Alex Garland has mentioned he has a trilogy in mind, but, y’know, those pesky box office figures are currently killing the mood for producers to say the magical ‘yes’ word. Unlike The Hangover, Dredd is definitely begging for a sequel. The scope of the original film was so limited (in a good way) that all we became familiar with was one sole building: Peach Trees. Finishing the film with the look over the expanse of Mega City 1 and the stupidly huge towers that litter the polluted sky, to hint towards the huge job Judge Dredd has to clean up the city and then to not follow through with it is a crime in itself. We only just got to know Judge Anderson and her ability, combined with Dredd’s efficacy with cleaning up a dead space, promises a worthy follow up to the original. There is so much more to be discovered in this universe, Dredd barely touched the surface.

Andy Buckle

I understand that Rex Picket, the author of Sideways, has been trying to convince Alexander Payne to adapt his sequel novel, Vertical. As a huge fan of Sideways I would like to see Payne continue his prolific streak – Nebraska has a release scheduled for later in the year, a quick follow-up to The Descendants – and re-collaborate with Miles (Paul Giamatti) and Jack (Thomas Haden-Church), and take them on another wild buddy-adventure through LA wine country. I’m not sure how long Vertical is set after Sideways. I guess it is possible that too much time has passed between the films for the story to work now. But hey, I’d welcome it.

Another collaboration that deserves a uniting is the Shane Black-Robert Downey Jr-Val Kilmer of Kiss Kiss Bang Bang. The hard-boiled noir throwback was so much fun and ends with a tease of more adventures to come.

Cameron Williams

It would be great if Guy Ritchie made a follow up to Snatch.  It would be neat to see all the characters who survived the first film return as well as introducing a new batch of oddball gangsters and misfits with Ritchie’s established Hollywood cred.  Robert Downey Jr and Jude Law could drop by for a favour and it would be fantastic to see Jason Statham back in the boots of Turkish.

Blake Howard

Michael Mann’s Miami Vice for the 21st century created such a rich world and vivid professionals operating on that precarious edge between law makers and criminals. In the wake of the climactic ending their team was wounded but cauterised by the experience and Archangel De Jesus Montoya is in the wind. The challenge for the team next is re-establishing themselves as ‘undercovers’ in the this new technological world and asking the question whether it’s even possible to do so. The stakes are higher, the danger ia omnipresent but the lure is intoxicating; and all the while an international arms dealer with untapped wealth re-enforces his position and wants revenge.

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Co writer/director Todd Phillps’ finale changes the key ingredients of the Hangover recipe in a failed attempt to please punters and critics alike.

After a death in the family that highlights that Alan (Zach Galifianakis) has been off his meds, the wolf-pack (Bradley Cooper, Ed Helms and Justin Bartha) intervene to get him back on track. On their way to a medical retreat they’re abducted by a gangster, Marshall (John Goodman), with connections to their past. Their way out; track down escaped prisoner Mr Chow (Ken Jeong), and capture him..

Phillips and co-writer Craig Mazin’s move away from the series formula feels like a direct effort to quiet the critical gripes with the repetitive quality of the first sequel and shifts the focus to Alan and Chow because they’re the ever quotable ‘fan favourites’. The first films’ brilliance is in the synergy between complimentary elements. The hierarchy of the characters; Cooper’s alpha male Phil, Bartha’s everyman Doug, Helms’ neurotic punching bag Stu and Galifianakis’ oddball Alan have great chemistry. These characters are the perfect storm of comedic interplay presented with tigers, Mike Tyson, and surprise naked gangsters. The Hangover Part III transfers the comedic relief to the foreground, Phil and Stu to the background and fundamentally changes the winning ‘Hangover’ recipePart III’s focus on plot and specifically giving more screen time to Alan and Chow results in shtick (Alan being an idiot savant and Chow being a freaky sex fiend) that’s two films old being spread over a longer running time. Things aren’t all bad; there were a few big laughs, Alan’s homage to viral video ‘best cry ever’ was fun (even if this reviewer was the only one that got it)  and the Melissa McCarthy cameo was terrific.

The Hangover Part III is a victim to the demands of an audience wanting more, a studio cashing in and a filmmaker not knowing how to say no.

★★ and a half

Blake Howard - follow Blake on Twitter here: @blakeisbatman and listen to the audio review on That Movie Show 2UE here or on top-rating film podcast Pod Save Our Screen, available now on iTunes.

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Official Synopsis:

How do you win? 

Comment: YES JASON!

*Note you must be in Australia to win (as the DVDs are Region 4) See our full giveaway terms and conditions here.

This is 40 is now available on DVD and Blu-Ray

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Thanks to Disney we have 5 copies of Peter Pan to giveaway (5 Blu-Rays).

Official Synopsis:

How do you win? 

Comment: Tinkerbell > Wendy 

*Note you must be in Australia to win (as the Blu-Rays are Region 4) See our full giveaway terms and conditions here.

Peter Pan is available on Blu-Ray 05-06-13.

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More Than A Minute: Cannes Diary, Day 9

Stumbling out of the theatre and into the bright daylight, I had to grab onto a railing to steady myself. Don’t faint don’t faint don’t faint, I chanted as my vision vibrated and I attempted to slowly pick my way down the stairs. Walking carefully, shaking with each step, I made it to a shop to grab some takeaway water and food. Can I sit for a second? I asked the girl, gesturing vaguely to a chair close by. At her concerned look, I realized I must be quite pale. Head pounding, I made it back to the apartment, forced water and bread down my throat, and lay on my bed. I think I’m just dehydrated, I told my roommate… either that or that 3-hour French lesbian film really got me.

Now I don’t want to complain about anything here at the Cannes Film Festival, because I seriously love every second and completely have an attitude of gratitude… BUT if I can maybe just point at one thing I wish I could change, it would be the water situation. As you enter any of the theatres or the Palais des Festivals where the pressrooms are, your bag is searched and body is swiped with a metal detector. I’m so used to it I fear when I walk through any door from now on I will automatically show the person to my right the contents of my bag, and hold my arms out for swiping to whoever may be in front of me. If you have food or drink, you have to throw it away. I understand the reasoning behind this, and it is really nice to not hear incessant munching of popcorn throughout each film; but when not much water is provided, you can’t have snacks, and you see a two-hour film followed directly by a three-hour film, it gets to be a problem.

The movies themselves though, were great. This morning kicked off with Alexander Payne’s ‘Nebraska’. Payne gave us wine country in California with ‘Sideways’, Hawaii with ‘The Descendants’ and now the Midwest of America shown in black and white. The story is about a son, David (Will Forte) trying to help his father Woody (Bruce Dern), who is old and confused and thinks he has won a million dollars through one of those phony sweepstake competitions. His mother and brother are not pleased when David agrees to drive him to Lincoln, Nebraska to pick up his winnings. Along the way they stop off at Woody’s old hometown, and news that he is “rich” spreads quickly. ‘Nebraska’ is a sweet, slow-burner about family and getting old, and the ending will touch you unless you’re dead inside… or don’t wish to be touched. Some of the acting did feel stilted, and I thought that was because Payne had cast some non-actors in the background roles, but a quick perusal of IMDB tells me they are all veterans! So I’m not quite sure what that was, unless it was a particular directing choice like the black and white - which I think he uses to create a sort of nostalgic feeling. It’s lovely and very satisfying. And the old father, Bruce Dern, he really got me. Sniff.

Straight out of ‘Nebraska’ I walked into ‘Blue Is The Warmest Color’. Actually I had to do a teeny bit of pleading to get in, and never thought I would make a ‘yes!’ motion when admitted entry to a 3 hour French lesbian drama, but I guess that’s what Cannes does to you. I’m so glad I got in though. I’m not sure how it did it, but this movie had me enthralled for the entire duration. Perhaps because the acting is so real and the story is so simple, speaking to truths about love and sex and sexuality. Basically it takes place over a number of years (it’s actually two films, Part 1 and Part 2, which we saw back to back) and centers on a young girl called Adele (played masterfully by Adele Exarchopoulos) who falls for a girl (her first) when she’s 17. Emma (Lea Seydoux, seen in ‘Midnight In Paris’) is slightly older, has blue hair and is a fine arts student. The two fall in love, live together, and eventually are torn apart through jealousy.

I can’t say enough good things about Adele’s performance. She is everything. So beautiful and raw. She blushes when she’s supposed to, cries real tears so hard snot comes out of her nose, is passionate, and shy, and you believe every second. Lea is also excellent and extremely believable. It’s also refreshing to see lesbian love portrayed on the big screen with the same care and sexiness as hetero love often is. The sex scenes are intense, and after the first lengthy one the whole audience burst spontaneously into claps. Then giggles. Then eventually shhhhsssses. Jury President Steven Spielberg was in attendance, which was kind of like watching a sexy film with a father. I tried to sneak a peek at him throughout, but he was blocked from my view. Not sure where or if ‘Blue Is The Warmest Colour’ will be played near you, but it is an incredible film so if you get a chance… just say yes.

Waking up from a nap I opened my eyes and discovered… I felt better. Hurrah! No more headache, or shakes, and I smiled as I thought Cannes, you haven’t beaten me yet! …then almost fell as I got out of bed. Better take it easy tonight, I told myself, because I have to make it to the 10:30pmscreening of that Robert Redford film I’m sick of hearing everyone rave about (not really) ‘All Is Lost’. Hopefully I won’t get seasick.

Alicia Malone - For more from Alicia visit her official website here or follow her on twitter here.

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