Review: Francophrenia
Director and star James Franco's soap-opera-themed
pseudo-documentary is as twisted as it is funny.
17.10.2012 - Warning: If you love James Franco,
you will either leave the screening of falling deeper than
ever for him - or feeling deeply disturbed. His boyish charm
coupled with a mature wit makes him popular with female demographic
groups. But this is no conventional documentary about the star. It
is a mockery of the popularity of humdrum soap operas -
specifically General Hospital. Franco was asked to appear
in an episode of the once-popular series as a serial killer aptly
named Franco. The episode was never completed. This is a strange
account of what went on behind the scenes.
In this mockumentary, Franco plays an artist par excellence
rightly called Franco. He will go to any lengths to create a
breathtaking masterpiece, literally. His character is believed to
have plans to murder his muse in order to finish his last creation.
What goes on behind the scenes is followed up by its own 'behind
the scenes', much like a twisted spin on Inception, with a
few more layers. Franco is totally being himself on the red carpet,
accommodating autograph-hungry fans and giving out cheeky smiles by
the dozen to those who ask - and to us, to. But added to this
glamourous scene is an insane monologue in his head that shows the
first signs of schizophrenia. Franco is arguing with himself,
calling himself names and mocking the entire crowd - in his head.
As if this isn't already enough to send audience into
confusion-land; there's more voices for us to worry about. These
come from restroom symbols of a man and a disabled person. It's
like the voice of his subconcious, which is totally normal - only
here he has three!
At one point in the documentary he is questioned by a reporter
if he's in love with the character he's meant to murder in the
episode. He shuns it off saying it's just a rumour but at various
points in the film he's shown going back to it (with the three
voices in tow) and contemplating whether he does in fact have a
soft spot for his victim. His killer tendencies and messed up
mental state are sure to escalate the audience' curiosity with
every passing scene.
The film gets its title from a line that Franco is seen
rehearsing the most, "Don't kill me, I know where the baby is." But
does he? What baby? Why the emphasis on that one line? These are
just some of the many questions that the audience is left to figure
out, or just let them go. Franco is a genius manipulator, spinning
such a complex web of thoughts and visuals amongst those present on
screen and behind; the audience merely ends up being a tertiary
receptor to the menagerie of confusion that lies in front of
them.
Extreme close ups of Franco's ears, lips and teeth seem
unnecessary but our brains may have already blurred the line
between illusion and reality at the start of this film. Queen's
'Bohemian Rhapsody' acts as background music for his hair and
makeup, creating an atmosphere of ambiguity. Co-director Ian Olds
cleverly plays with different shooting styles, as if to create a
sort of hierarchy of what thoughts are top priority in Franco's
head. The lighting is stark, the film being lit mostly via studio
lights and camera flashes. The voices continuously argue about
Franco's actions and reactions. At one point, Franco actually stops
and rewinds to ponder over the idea of James Franco versus Franco
in General Hospital and concludes that they're in fact,
inseparable.
The film concludes aptly with a rendition of Mad World
and a montage of James Franco still trying to figure out why he's
there and what he's doing. If you've watched the Pineapple
Express and 127 Hours, you probably know that Franco
tends to be a bit manic. There's a hint of narcissism to this whole
fiasco - what with the character he portrays on General
Hospital being named Franco, comes as no surprise. Watch it
for Franco's sheer ability to capture and engage audience through
something that doesn't quite make sense. And one imagines that this
was precisely his intention.
Francophrenia (or: Don't Kill Me, I Know Where The Baby Is)
screens on Wednesday 17 October at 2:30 pm at VOX Cinemas, Marina
Mall.
Melissa Khan