Review: ‘Mrs. Harris Goes to Paris,’ starring Lesley Manville, Isabelle Huppert, Lambert Wilson, Alba Baptista, Lucas Bravo, Ellen Thomas and Jason Isaacs

July 11, 2022

by Carla Hay

Pictured in front: Lambert Wilson, Lesley Manville, Guilaine Londez, Dorottya Ilosvai and Alba Baptista in “Mrs. Harris Goes to Paris” (Photo by Dávid Lukács/Focus Features)

“Mrs. Harris Goes to Paris”

Directed by Anthony Fabian

Culture Representation: Taking place in 1957, in London and Paris, the comedy/drama film “Mrs. Harris Goes to Paris” features a nearly all-white cast of characters (with a few black people) representing the working-class, middle-class and wealthy.

Culture Clash: A widowed housekeeper in London goes to Paris, where she wants to fulfill her dream of buying a haute couture Dior gown, but she experiences obstacles and bigotry from snobs who think she isn’t worthy because of her working-class background.

Culture Audience: “Mrs. Harris Goes to Paris” will appeal mainly to people who are fans of star Lesley Manville and the book on which the movie is based, as well as to people who are interested in 1950s high fashion history and stories about working-class people navigating in upper-class society.

Isabelle Huppert and Roxane Duran in “Mrs. Harris Goes to Paris” (Photo by Dávid Lukács/Focus Features)

Despite a tendency to be cloying and cliché, the comedy/drama “Mrs. Harris Goes to Paris” has exuberant charm that’s hard to resist. Lesley Manville shines in this fairytale-like story about a woman who believes it’s never too late to chase a dream. On the surface, her dream is to buy a haute couture Dior gown, but the gown represents something much bigger to her: an ability to go outside her comfort zone to get what she wants in the pursuit of happiness.

Directed by Anthony Fabian, “Mrs. Harris Goes to Paris” is based on Paul Gallico’s 1958 novel “Mrs. ‘Arris Goes to Paris.” The novel was also made into a 1992 TV-movie of the same name, starring Angela Lansbury in the title role. In the “Mrs. Harris Goes to Paris” movie directed by Fabian, the title character is played by Manville. Fabian co-wrote the movie’s adapted screenplay with Carroll Cartwright, Olivia Hetreed and Keith Thompson.

“In Mrs. Harris Goes to Paris,” it’s 1957, and Mrs. Harris is Ada Harris, a widowed housekeeper who’s in her 50s and who lives in London. (“Mrs. Harris Goes to Paris” was filmed in London and Paris—the two cities where the story takes place—but the movie was also filmed in Budapest to simulate Paris in the 1950s.) Ada dreams of having a more glamorous life. Ada’s often cheerful demeanor often hides her sadness over not knowing what happened to her husband Eddie, a military man who went missing in action during World War II in 1944.

Because Eddie hasn’t contacted her for all of these years, he’s presumed dead, but Ada can’t bring herself to face this probability. Ada, who lives alone and has no children, has not had a special man in her life since Eddie disappeared. She has long since given up on finding love because she thinks because of her age, occupation and physical appearance, she’s not very desirable.

“Mrs. Harris Goes to Paris” spends a little too much time in the first third of the movie showing Ada stuck in her drab routine life in London. There are repetitive scenes of her going to a bridge at night, where she talks out loud to her long-lost husband Eddie. Viewers of “Mrs. Harris Go to Paris” will have to have some patience before the movie gets to what the movie’s title is all about.

Ada’s best friend is Vi Butterfield (played by Ellen Thomas), a Caribbean immigrant who is around the same age as Ada. Vi (who also lives alone and has no children) is as confident as Ada is insecure. When Ada and Vi go out together at social clubs, Vi often has to give Ada pep talks to help boost Ada’s self-esteem. When they go out to these clubs, Ada is more likely to play cards at a table than to mingle and dance.

It’s at this nightclub, when Ada and Vi are sitting together at a table, where Ada gets the courage to open a package from the U.K. military that she has been dreading to open in front of Vi. Inside the package are a telegram and some of her husband Eddie’s personal possessions, including what appears to be a university ring.

Ada reads the telegram out loud to Vi. The telegram confirms that Eddie is dead. He was killed in action near Warsaw, Poland, on March 2, 1944. Ada is saddened but not too surprised. After getting this news, she goes to the bridge again and stares mournfully at Eddie’s ring, as if she’s trying get closure over the reality that Eddie won’t be coming back.

Someone whom Ada and Vi see often is their mutual friend Archie (played by Jason Isaacs), a middle-aged local bookie whose social manners are a little rough around the edges. Archie is a bachelor who thinks of himself as a seductive ladies’ man. Whenever, Ada and Vi see Archie at a nightclub, he always seems to have a different woman as his date.

During one scene in the movie, Archie has brought his two dogs Spring and Summer to the nightclub where Ada and Vi frequently go. Archie asks Ada and Vi to look after the two dogs while he goes on the dance floor with his date. Ada sighs and says to Vi about how the men at this club don’t see them as attractive enough: “We’re invisible women.” Vi’s sassy response is: “Speak for yourself! They see me coming!”

Two of the women who are Ada’s regular clients are very different from each other. Pamela Penrose (played by Rose Williams) is a 23-year-old aspiring actress who looks like a cross between Jayne Mansfield and Marilyn Monroe. Pamela is constantly worried about auditions and whether or not she will ever make it big as a movie actress, which is her life goal. Even though Pamela rents an apartment that she can barely afford, she pays Ada on time and appreciates Ada’s cheerful kindness.

The same can’t be said for Lady Dant (played by Anna Chancellor), a middle-aged socialite who spends lavishly but who has come up with many excuses not to pay Ada for the past several weeks. The latest excuse is that Lady Dant has to pay for her daughter’s wedding, which Lady Dant claims is financially draining. When Ada tactfully and politely asks Lady Dant when she can be paid the money that’s owed to Ada, Lady Dant is haughtily dismissive and scolds Ada to be more patient and understanding. Lady Dant also tells Ada that her work hours will be reduced, effective immediately.

Christian McKay is under-used in a small role as Giles Newcombe, one of Ada’s housecleaning clients. A running gag in the movie is that Ada often passes by Mr. Newcombe on a flight of stairs as Ada is arriving and he is leaving the building with a woman who looks young enough to be his daughter, whom he always introduces as his “niece.” The implication is that Mr. Newcombe is married, these young women are really his mistresses, and they have their trysts at the apartment he has in this building.

Ada and Mr. Newcome always greet each other in a friendly manner, with Ada seeming to know that Mr. Newcombe isn’t the “uncle” of these women. Ada is discreet and plays along with the charade though, because Mr. Newcombe is always kind to her. Ada doesn’t judge whatever Mr. Newcombe’s extramarital activities might be because she doesn’t know all the details of his marriage. It’s also this movie’s way of showing that Ada isn’t a nosy gossip.

One day, Ada is doing some housecleaning in Lady Dant’s home, when she sees a stunning floral print sequined dress displayed on a bed. Ada is enchanted by this dress and can’t resist picking up the dress and holding it up to herself while she looks in a mirror. Lady Dant catches Ada admiring the dress, but Lady Dant doesn’t seem to mind.

Lady Dant brags to Ada that the gown is haute couture Dior and that she paid £500 for the dress during a recent trip to Paris. Lady Dant orders Ada not to tell Lady Dant’s husband about this purchase because he will think that she overpaid. As soon as Ada hears about how and where Lady Dant got the dress, it sparks an a near-obsession for Ada to do the same thing.

Ada begins saving her money for a trip to Paris. She also starts a small business on the side called Invisible Mending, where she does seamstress work and other sewing jobs. However, Ada gets a temporary setback when she places a losing £100 bet at a dog-racing track where Archie works.

But then, in an “only in a movie” sequence of events, three things happen literally within minutes of each other that change her fortunes: (1) Ada gets a visit from a military official telling her that the military owes her back payments for being a war widow; (2) Ada gets reward money for returning a lost diamond pin; and (3) Archie shows up at her home to tell her that he actually placed her bet on the racing dog that won, not the losing dog she wanted to bet money on for the race.

And so, with enough money to travel and buy her dream Dior haute couture gown, Mrs. Harris goes to Paris. At the train station in Paris, she meets three homeless winos, and one of them is kind enough to show here where the House of Dior is. Ada notices that there’s a lot of garbage on the streets of Paris, so the homeless man tells her that it’s because garbage collectors are currently on strike. This worker strike is used as a few plot developments later in the movie.

Outside the House of Dior, a model who’s running late for a fashion show, stumbles out of car and trips in front of the entrance. Her name is Natasha (played by Alba Baptista), and she accidentally drops her purse without noticing. Ada picks up the purse and goes inside the building to return it to Natasha, who is grateful.

But those pleasantries are about to end when the pompous House of Dior director Claudine Colbert (played by Isabelle Huppert) notices that Ada is treating the House of Dior like a regular retail store, where people can just walk right in and buy what they want if they have the money for it. Madame Colbert snootily tells Ada that Dior’s haute couture customers have invitation-only access.

Ada most definitely does not have an invitation. Ada gets upset and hastily explains to Madame Colbert that she’s a housekeeper from London who saved up all of her money for this trip and she won’t leave without buying a Dior haute couture gown. When Ada takes out the wads of cash that she has with her, Madame Colbert is even more disgusted by what she sees as crassness from Ada.

However, a society gentleman named Marquis de Chassagne (played by Lambert Wilson), who has been invited to Dior’s upcoming haute couture collection show, notices Ada’s plight and generously tells Ada that she can be his guest at the show. Madame Colbert is miffed, but there’s nothing she can do about it. Unbeknownst to the general public, Dior has secretly been having financial problems, so Madame Colbert tells Dior accountant André Fauvel (played by Lucas Bravo), who has been observing Madame Colbert’s attempted shunning of Ada, that at least they might get a sale out of Ada being there.

Another person who’s annoyed that a “common” housekeeper is attending the show is a spiteful socialite named Madame Avallon (played by Guilaine Londez), who is attending the show with her pouty young adult daughter Mathilde Avallon (played by Dorottya Ilosvai). Madame Avallon gets even more irritated when she sees that Ada will be sitting next to her at the show. And guess who wants the same gown as Ada?

Ada is dazzled by the runway show, but two gowns in particular get her the most excited. Her first choice is a red stunner called Temptation. Ada also literally gasps when she sees an emerald green gown called Eden. Madame Colbert makes sure that Madame Avallon gets the Temptation gown. Oscar-winning costume designer Jenny Beavan did top-notch, award-worthy costume for “Mrs. Harris Goes to Paris.”

As a consolation for not getting the Temptation gown, Ada is told that she can be fitted for the Eden gown. However, these fittings would require Ada to be in Paris for several more days. Ada can’t afford to stay in Paris for longer than she had planned, As a show of generous support, André invites Ada to stay for free at the house of his sister, who is away on a trip. Ada eagerly accepts this offer.

A meticulous Dior atelier employee named Monsieur Carré (played by Bertrand Poncet) oversees the fittings for Ada. Predictably, he is sometimes irritated by Ada’s ignorance of haute couture traditions and customs. Fashion icon Christian Dior (played by Philippe Bertin) makes a few brief appearances, as this movie depicts the last year of Dior’s life. (On October 24, 1957, Dior died of a heart attack at the age of 52.) As expected, Ada is star-struck to be in the presence of Dior.

House of Dior’s seamstresses, including seamstress director Marguerite (played by Roxane Duran), are charmed by Ada’s working-class pluckiness in the face of upper-class elitism, so they are rooting for her behind the scenes. While Ada is starting to befriend Isabel and André, she notices that André has romantic feelings for Isabel. And you know what that means: Ada is going to try to play matchmaker for André and Isabel. Meanwhile, Marquis de Chassagne has taken a liking to Ada and asks her out on a date. Could this be the beginning of a romance for him and Ada?

“Mrs. Harris Goes to Paris” often goes down a very formulaic route, but it’s always watchable, due in large part to the talented cast members, led by Manville. Huppert plays her “villain” role to the hilt, but Madame Colbert shows some vulnerability and warmth later in the movie. Not everything in the movie is predictable, but there’s enough familiarity in how this story is told that “Mrs. Harris Goes to Paris” is like having comfort food with a longtime friend.

Focus Features will release “Mrs. Harris Goes to Paris” in U.S. cinemas on July 15, 2022.

Review: ‘Mama Weed,’ starring Isabelle Huppert

July 25, 2021

by Carla Hay

Kamel Guenfoud, Isabelle Huppert and Youssef Sahraoui in “Mama Weed” (Photo courtesy of Brainstorm Media and Music Box Films)

“Mama Weed”

Directed by Jean-Paul Salomé

French and Arabic with subtitles

Culture Representation: Taking place primarily in Paris, the comedy/drama “Mama Weed” features a cast of white, Middle Eastern and Chinese characters representing the working-class, middle-class and criminal underground.

Culture Clash: A middle-aged widow, who’s a language translator for a police department’s narcotics unit, steals a large supply of hashish from drug dealers and creates a persona as a savvy drug lord to sell the drug stash back to the unsuspecting drug dealers.

Culture Audience: “Mama Weed” will appeal primarily to people who are fans of star Isabelle Huppert and who are interested in dark comedies about drug trafficking, even if the story has some deliberately far-fetched elements.

Isabelle Huppert in “Mama Weed” (Photo courtesy of Brainstorm Media and Music Box Films)

There have been several movies about narcotics law enforcement agents who profit from selling drugs that they steal from drug dealers, but there’s none quite like “Mama Weed.” It’s a movie that has playful fun with the concept that a middle-aged widow who works as a translator for a Paris police department’s narcotics unit can “go rogue” and come up with a scheme to commit this crime. The movie’s dark comedic spin and Isabelle Huppert’s captivating performance make the hard-to-believe and absurdist elements of the plot easier to enjoy.

Directed by Jean-Paul Salomé, “Mama Weed” is based on Hannelore Cayre’s 2019 novel “The Godmother.” Salomé and Cayre co-wrote the “Mama Weed” screenplay. It’s a story that requires a certain suspension of disbelief that the protagonist gets away with as much as she does when she doesn’t do much to disguise her face and there are surveillance cameras in public areas where she does her deals. However, because she works in the same police narcotics unit that could potentially bust her for her misdeeds, she has access to information and resources that help her hide her criminal activities from her colleagues.

In “Mama Weed,” Huppert portrays Patience Portefeux, a translator for the Paris Police Department’s narcotics unit. She speaks Arabic, which is the first language of many the drug dealers who are arrested by the department. Patience is not a typical employee of a police department’s narcotics unit, because she has a Ph. D. in Arabic studies. What is she doing in a low-paying job at a police department? It’s never really explained, but it’s implied that because Patience is near the age range when most people retire, she hasn’t been able to find work anywhere else where she can use the type of education that she has.

Patience (who likes to wear black leather jackets and black jeans when she’s on the job) is not a frumpy, uptight woman who can’t handle the rough and dangerous work that she has to do as part of her job. Her work includes accompanying narcotics cops on their drug raids. She’s a fairly even-tempered police employee who doesn’t get easily rattled.

In the film’s opening scene, Patience is with her cop colleagues on a drug bust that involves Arabic-speaking drug dealers from a crime family whose last name is Abelaziz. The drug dealers have been arrested for possession of seven kilograms of hashish. Back at police headquarters, two of the suspects are being interrogated, with Patience acting as the translator.

One of the suspects won’t reveal any information and shouts at the interrogating cop, “Fuck you! I want a lawyer!” Another cop in the room starts to get rough with the suspect, by kicking him and hitting him. The suspect then spits on Patience, while the interrogating cop freezes in shock. Patience is horrified, but she takes this spitting assault in stride and doesn’t get emotional. Meanwhile, the violent cop angrily hauls off the suspect for what will probably be more police brutality.

After this tension-filled interrogation, Patience walks into her supervisor’s office to tell him what happened in the interrogation room and that the suspects probably won’t say anything incriminating while in custody. Patience’s boss Philippe (played by Hippolyte Girardot), who’s about the same age as she is, has recently been promoted to police chief. An upcoming drug bust will be the first under his command as chief of the department.

Philippe is concerned but not surprised that the suspect spit on Patience. He can’t get too disturbed by it though because it’s part of law enforcement’s job to expect suspects to attack anyone who works in law enforcement. Philippe also isn’t too concerned that the suspect isn’t giving up information while in custody, because the police department already has enough incriminating evidence in the form of secret audio recordings that they made of these drug dealers.

A lot of what Patience does in the office is translate this type of surveillance, which she sometmes has to do live, as these conversations are being recorded. It’s this part of the job that causes a turning point in her life and serves as the catalyst for what happens when Patience ends up “going rogue.” And there’s an extra complication that makes Patience’s criminal activities even riskier: Patience and Philippe (who’s an available bachelor) have been secretly sleeping with each other.

The word “romance” isn’t really the best description for this relationship, because although Patience is very fond of Philippe, she’s not in love with him. However, Philippe seems to be in love with Patience and drops hints that he wants them to live together. It’s a suggestion that she tactfully brushes off, because she seems to like her independence and wants to keep living alone in her condo apartment.

Patience has been a widow since 1994, when her husband Martin suddenly died of a stroke when he was 34 years old. Patience and her late husband have two adult daughters—Hortense (played by Iris Bry) and Gabrielle (played by Rebecca Marder)—who are both in their 20s. Based on conversations that Patience has with her daughters, Patience hasn’t had much of a dating life since her husband died. Getting intimately involved with Philippe seems like something that happened because she spends so much time at work and they’re both available.

Patience’s husband Martin died while they were on vacation in Oman. It was an annual trip that the family used to take and always looked forward to every year. But after Martin died, Patience didn’t want to go back to Oman because it brought back painful memories of his death. She still talks about Oman with a lot of affection though, as if she still has good memories of where she and her family used to go in Oman.

There are some other more immediate problems in Patience’s life because she’s been struggling financially. For years, she’s been paying off debts that her late husband owed. In addition, her ailing mother (played by Liliane Rovère), who doesn’t have a first name in the movie, is in an assisted living facility. Patience is a few months’ behind on paying the facility fees.

It’s later revealed in the movie that Patience’s mother is a Holocaust survivor. Patience’s father was an Algerian immigrant who met Patience’s mother in 1962. Patience’s Algerian heritage on her father’s side provides context for why she loves speaking Arabic and why she got her university education in Arabic studies.

At the assisted living facility, a kind, middle-aged Moroccan woman named Kadidja (played by Farida Ouchani) is the main caretaker for Patience’s mother. Patience and Kadidja have a friendly rapport with each other where they trust and respect each other. Kadidja knows what Patience does for a living. Kadidja is also very good at handling Patience’s mother, who can be cranky and stubborn. Patience and her mother seem to have a fairly good relationship that has been occasionally marred by typical mother-daughter squabbles.

One day on her job, Patience is listening in on live surveillance by narcotics cops, who have been tracking a suspected drug courier in his early 20s. This suspect is driving a truck carrying a large shipment of hashish, and the truck is headed for Paris. (The cops have a GPS tracking device on the truck.) Patience overhears someone mention the suspect’s name, and she’s immediately alarmed. His name is Afid (played by Yasin Houicha), and based on his description and where the cops have been tracking him, he sounds exactly Kadidja’s son.

Patience uses her personal cell phone to breach protocol by secretly calling Kadidja to warn her that Afid is under surveillance by police and is about to be busted for this hash haul. Patience frantically advises Kadidja to call Afid and tell him about this impending drug arrest and to make an unplanned detour so he can find a way to hide or get rid of the drug stash before the cops can catch up to him. Patience also tells Kadidja to be careful of how she talks to Afid on his phone because the conversation will be recorded by the cops.

Afid does what his mother tells him to do, so that by the time the narcotics police catch up to him, Afid is arrested but there are no drugs in the truck. The cops think they have enough evidence on Afid to keep him in custody anyway, because of previous surveillance recordings where he incriminated himself as working with ths drug cartel. However, the narcs are frustrated because Afid won’t tell anyone where he hid the large supply of hash. They hope that Afid can give up information on his drug connections so they can bust the dealers who are higher-ranked in this drug cartel, but Afid isn’t likely to snitch.

The drug dealers who were expecting this large shipment are predictably furious. They are from the Cherkaouis crime family, led by two menacing brothers (played by Kamel Guenfoud and Youssef Sahraoui), who don’t have first names in the movie. These two brothers are hauled in for questioning by police, since the brothers were heard on audio surveillance. However, there’s not not enough evidence to put the brothers in jail, so they are let go.

In a private conversation between Philippe and Patience at the police station, he admits that he’s very embarrassed that this drug bust was bungled under his supervision. Patience tries to comfort him. The subject comes up about the narcotics unit using canines to detect drugs. Philippe mentions that after the dogs are retired from police work, they get sent to a local shelter. If the dogs don’t get adopted by a certain period of time, then they’re euthanized.

Philippe goes to an animal shelter website on his phone to show Patience some of the former polce dogs who are up for adoption there. Patience semi-jokes that he should help her adopt a dog. She sees a male German Shepherd on the wesbite that immediately catches her eye. And it plants an idea in her head: What if she got a former police dog to find that large supply of missing hash?

The next thing you know, Patience now owns the German Shepherd that she saw on the shelter website. She’s given the dog the name DNA. Patience tests his drug-sniffing skills when she lets him loose on some local drug dealers she sees on the streets. When she sees that the dog’s drug-sniffing skills are still very strong, she gets to work to find that drug stash.

Patience drives around with her dog DNA in places where she thinks someone would be able to hide the drug supply that went missing from the truck that Afid was driving. One of these places is a remote-looking field that has a locked shed. The dog goes crazy when she drives by and immediately runs up the shed, which is locked.

Patience breaks into the shed and—voilà—she finds the missing supply of hash. It’s not spoiler information to say that Patience found this drug stash, because people seeing this movie should already know that the main part of the story is that she’s selling stolen drugs by pretending to be a drug lord. The spoiler information is whether or not she gets caught.

The hash supply is so large that Patience has to rent a truck and go back to the shed more than once to retrieve it all. She hides all the hash (which is wrapped tightly in plastic brick-sized packages) in her apartment building’s storage room that she knows isn’t being used. And she thinks of small but important details, such as putting hanging air refresheners in the storage space to try to mininize the smell of hashish.

Patience plans to sell all the hash to the same drug dealers who were going to buy the stash before Afid got arrested. To entice the these drug dealers, she offers them a “discount.” She wants to use the money to pay off all her bills, give some money to Kadidja to help with Afid’s legal problems, and use the rest of the money to live off of comfortably in retirement.

It’s a very risky plan that yields some comical results. One of the problems that Patience encounters is her nosy neighbor Colette Fo (played by Nadja Nguyen), a Chinese immigrant who’s suspicious of Patience’s sudden interest in the building’s unused storage space. Patience has bought a lock for the storage space so only Patience can access the space for the time being. (The movie conveniently never shows a superintendent in the building.)

Patience then creates a false persona as an out-of-town drug lord named Mrs. Ben Barka. Because she speaks fluent Arabic, she disguises her ethnic identity by pretending to be Middle Eastern. Some people might be offended that all of the movie’s drug dealers are of Middle Eastern heritage, because in reality there are plenty of white drug dealers who exist in France.

The Cherkaouis brothers have never heard of Mrs. Ben Barka, so they send two bumbling henchmen named Scotch (played by Rachid Guellaz) and Chocapic (played by Mourad Boudaoud) to check out Mrs. Barka to see if she’s legitimate and not an undercover cop. She’s able to easly fool them because she’s picked up enough drug-dealing lingo from her job to sound convincing. Patience finds out later that the drug dealers have privately given Mrs. Barka the nickname Mama Weed.

But here’s the part of the movie where viewers have to suspend disbelief: While Patience is interacting with these dealers as Mrs. Barka/Mama Weed, she is able to avoid being identified by her cop colleagues who have the Cherkaouis drug cartel under audio and video surveillance. Some of it can be explained away, because at the police station, she has access to evidence that she could steal, delete or destroy if necessary.

Patience only wears a hijab and sunglasses for her disguise. That doesn’t sound like it would be enough to disguise her identity if she’s caught on surveillance video, but she’s careful to try to stay out of camera range as much as possible. Even more inexplicably, she often doesn’t bother to wear sunglasses in places where there’s sure to be video surveillance that’s not controlled by the police. Luckily for her, the quality of this surviellance video is so low that her image shows up as quite blurry.

As for possibly being recorded by the police’s audio surveillance, viewers of this movie will have to assume that the officers won’t recognize Patience’s voice on the recordings when she speaks Arabic, or that Patience got to the audio surveillance evidence first and was able to get rid of it. There are several scenes in the movie that imply that the French-speaking cops in the narcotics unit completely trust Patience in her job when she’s given access to surveillance recordings where people speak Arabic. They leave her to do the translating and transcribing with little to no supervision or independent verification.

There is one person in the police department who notices that Patience bears a striking resemblance to the Mrs. Barka/Mama Weed who’s suddenly being seen with members of the drug cartel that the police want to arrest. (It’s very easy to predict who’s the first to notice.) However, Patience laughs it off when it’s mentioned to her. The person who sees the physical resemblance doesn’t want to believe that Patience is capable of being the experienced drug lord that Mrs. Barka/Mama Weed appears to be, so it doesn’t take much for this person to dismiss these suspicions.

As far-fetched as Patience’s plan might seem to be, it’s actually fairly shrewd because she would be one of the last people ever suspected of concocting this plan. Hiding in plain sight, indeed. This movie’s concept wouldn’t work if Patience weren’t an insider in the police department’s narcotics unit, with access to evidence and information about how the narcotics investigations were being handled.

What would motivate someone like Patience to commit these very hazardous crimes? The movie points out in subtle and nuanced ways that Patience has a history of being closer to criminals than she would like to publicly admit. Near the beginning of the film, Hortense bitterly mentions that her late father Martin was a “crook” who left behind “20 years of debt” that Patience was stuck with having to pay. Patience chastises Hortense and tells her not to talk about her dead father in that way.

Throughout the movie, Patience sometimes makes offhand remarks to her cop colleagues that she has some sympathy for the drug dealers because she seems to think that drug-related punishments don’t fit the crimes. Her comments get mildly surprised reactions but not enough to arouse suspicion. However, it explains why she was eager to help Kadidja, even though Kadidja is not a close friend.

And there’s probably some unspoken anger and bitterness behind Patience wanting to steal the drug stash and sell it. Patience most likely thinks that at her age and with her education, she should be doing better in her life. Instead, she’s stuck in a low-paying job and barely able to pay her bills and debts. It’s easy to see how someone like Patience might think that she got a raw deal in life and wants to take it out on the justice system—or at least take it out on the police department that’s underpaying her.

As for the drug dealers being so gullible, there are many real-life true crime cases where criminals do the dumbest things and make the most illogical decisions out of pure greed. It’s not implausible to think that these drug dealers wouldn’t really care about where Mama Weed got her drug supply, as long as they know they’re getting a huge discount. In their minds, they might think Mama Weed is the stupid one for selling the hash for below the market value.

And that’s one of the messages of this movie: Don’t be surprised by what people will do because of greed. Patience is one of the people who’s not immune to greed becoming a blind spot that clouds her judgment. One of the best things about “Mama Weed” is that it doesn’t make Patience a criminal mastermind. She makes some mistakes that cause some very close calls for her.

However treacherous things might get for Patience and other people, the movie keeps a sly comedic tone, with plenty of wisecracking (especially between Patience and Colette), to remind viewers not to take it all too seriously. A slapstick shootout scene toward the end of the movie is filmed a little awkwardly and almost brings “Mama Weed” into cartoonish territory. But because of Huppert’s immense talent in balancing comedy and drama, her performance is worth watching in this unconventional crime caper.

Brainstorm Media and Music Box Films released “Mama Weed” in select U.S. cinemas on July 16, 2021, and on digital and VOD on July 23, 2021. The movie was previously released in various countries (including France and Canada) in 2020.

Isabelle Huppert and Paul Verhoeven backstage at the 2017 Golden Globe Awards

January 9, 2017

by Carla Hay

The 74th Annual Golden Globe Awards took place on January 8, 2017, at the Beverly Hilton in Beverly Hills, California.

“ELLE”

Golden Globe wins:

https://www.youtube.com/watch?v=Jn1fbEbrvVo

Here is what these Golden Globe winners said backstage in the Golden Globe Awards press room.

Isabelle Huppert and Paul Verhoeven at the 2017 Golden Globe Awards
Isabelle Huppert and Paul Verhoeven at the 74th Annual Golden Globe Awards at the Beverly Hilton Hotel in Beverly Hills, California, on January 8, 2017. (Photo by Kevork Djansezian/NBC)

BACKSTAGE INTERVIEW

What scares you the most in life or in movies?

Huppert: What am I scared of in life or in movies? Well, in movies normally things scare me. Actually, I think the most apparently scary things are the most rewarding. I think it all depends about with whom you do it and obviously going it with [“Elle” director ] Paul Verhoeven didn’t scare me. I don’t think truth never scared me. In life, life it’s a different story.

What made you and Paul Verhoven understand each other to surpass the craziness of this plot and create something that responded to people?

Verhoeven: well and the book was sent to me and I like the book. And then it was clear at a certain moment that Isabelle Huppert was go to do this and had to do this because there is really nobody else in the world that could have done it. That’s what I feel. I mean, that’s all.

Talking in retrospect because when you start an adventure like that you don’t know exactly where you will go where it’s going. You’re not so clear about things, but after finishing the movie and looking at the result I feel that what Isabelle did was so audacious and so authentic that basically, it saves the movie.

Huppert: I think most of the time moviemaking is all about confidence and trust. There is nothing else, actually. And if you if you trust someone if you should feel like you know you’re being watched and loved and understood, it’s all very easy and actually obviously that’s what happened in that film.

I think that both Paul Verhoeven and myself this is what we expect from doing movies. Being adventurous in certain subject matters but being scared of exploring anything, even if it is disturbing if it is, even if it is sometimes difficult to listen or to understand but exploring the human psyche. That’s what makes seen most of the time valuable and worthwhile.

You didn’t win the Palme D’Or at the Cannes Film Festival. Did you expect to win at the Golden Globes?

Verhoeven: In reality, yes. Yeah because there was of course, especially in the United States some controversy about a movie. I didn’t realize that the Hollywood Foreign Press was also open-minded to accept this in all its strangeness otherness and—as Isabelle has called it—disturbance. Yes, I was amazed but on the other hand it was so clear to me that Isabelle was fantastic that I was really from the beginning believing that it would be very strange if she wouldn’t get a prize.

What moved you the most playing this character and what was it like to be in this category with so many amazing fellow actresses?

Huppert: What moved me the most by playing this character? So many things, actually. She’s such a memorable character I love the cat too. I’m joking. I think what I really liked is that also the fact that she’s such a central character around which the whole theme evolves and so it makes it so pleasurable and so easy to be able to little touch by little touch to build up a character and to complete and not to be obliged to choose whether she should be more ironical or more dramatic.

Paul Verhoeven has an incomparable talent to really combine this ability to go from drama to sometimes comedy to thriller through the project of a woman. I just had to you know to follow these as a day everyday experiment and that was amazing for me to create that role in this circumstance.

 

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