Teacher and novelist François Bégaudeau plays a version of himself as he negotiates a year with his racially mixed students from Entre les murs (original title). Entre les murs (Collection Folio (Gallimard)) (French Edition) [Francois Begaudeau] on *FREE* shipping on qualifying offers. The book that. Entre les murs: Scenario de Francois Begaudeau, Laurent Cantet et Robin Campillo [Laurent Cantet] on *FREE* shipping on qualifying offers.
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The money is terrible and the children – well, children can be so ungrateful. I remember once, I’d planned a trip to the cinema for my class and when we got there, they caused bgaudequ terrible scene, behaved really badly.
That sense of sadness, that sense of betrayal – oh it’s horrible! We’re sitting in the art deco Hotel Lutetia on Paris’s left bank, in a beautiful former ballroom that was once the Gestapo’s headquarters. How did we get on to betrayal?
Hadn’t he cherry-picked their lives for his greater glory? But it’s an important question. What I didn’t want to do was to write a memoir. That would have been to fall into the traps you’ve identified.
That would have been disreputable. The novel is a larger form than the memoir. I was able to be freer with the material I took from my real-life experiences in the classroom.
Entre les murs (novel) – Wikipedia
When I was a singer in a punk band, when I screamed the songs of the Sex Pistols in the evenings, I was playing a role then, just as much as the role I played when I was teacher during the day. I knew the milieu a little.
My parents were teachers. I had a taste for discussion and I liked the idea of discussing literary texts with children. But there was no sense of mission. I started teaching in Dreux, a place with lots of social problems and ethnic tensions. He ran into director Laurent Cantet when they were on the same radio chat show. Cantet was the maker of such compelling dramas of social mores as Heading South in which Charlotte Rampling played a sex tourist in HaitiTime Out the nightmare of job insecurityHuman Resources about the French class system and the ongoing struggle between capital and labour.
I had three ideal directors in mind: Maurice Pialat, who couldn’t do it because he’s dead; Abdellatif Kechiche, who made L’Esquive [a movie about a group of banlieue kids rehearsing a production of Marivaux’s Game of Love and Chance]; and Laurent. He’s so much like me – same region, same political culture.
Why, given you have no professional acting experience, did Cantet cast you as the lead? And I knew I could do it – I had already played the role. Cantet risked much by concocting such ggaudeau schoolroom drama because his film would be judged against other great pictures in the genre: I was never like that.
I always wanted to have a proximity with the children, not to be above them – even if that meant showing my weaknesses. Cantet clearly wanted to counter recent French treatments of the pupil-teacher relationship, which have bordered on the saccharine; namely, Lles Philibert’s much-loved documentary about a French rural primary school, Etre et Avoir and Christophe Barratier’s no-less-admired Les Choristes, where a teacher, through kindness and understanding tames the savage hearts of his pupils – not to mention the insufferable Robin Williams’s teacher-pupil drama Dead Poet’s Society.
He thought the film was nostalgic. That’s what worried me, too. Even though Philibert is of the left, he made a film that’s nostalgic in depicting la France profonde. Franoi little in it that would tell you it was made in the 21st century. I’m not saying that such schools don’t exist, but rather, why did Philibert decide to film such a school, a place where there is no violence, no ethnic tensions?
The Class, on the other hand, depicts a convincingly multicultural bunch of schoolkids.
The Class ( film) – Wikipedia
The film is refreshing, too, in that the teacher isn’t overlord but hobbled prey, brought down or at least humbled by the wit and cunning of his perhaps rather fancifully articulate students. Bgaudwau subvert his lessons, for instance, arguing with some justice that no one in modern France needs to know the imperfect subjunctive, and use his classes to fight out ethnic rivalries.
But there are delightful moments. In fanois, a student teasingly asks the teacher if he’s gay. It’s aimed at getting a reaction, so the teacher must try not to give the student what they want. He calls two girls who have challenged his authority “petasses” translated in the subtitles as “skanks”.
It’s a shocking moment: Never are we further in the film from the Robin Williams model of celluloid pedagogy; never has an authority figure in the classroom been so painfully exposed. I called some girls that word. I regretted it immediately, but I felt so betrayed by them.
Entre les murs
There were people who detested it, others who loved it. After a while you realise that all reviews say more about the reviewer than what they’re reviewing. Everybody projects their own agenda on to it. All the journalists from all the countries who’ve interviewed me told me they had a terrible time at school.
His novels became so successful that he gave up the day job and took up the lucrative writing assignments film criticism for Cahiers du Cinema and Playboy, a football column for Le Monde, TV reviewing for Canal Plus. Significantly, those novels have so far always involved real-life characters metamorphosed into fiction. His latest, End of History, was inspired by the press conference given by French journalist Florence Aubenas after being freed as a hostage in Iraq.
And that is what The Class does. The Class ends on the last day of the school year. All the students but one have left the classroom.
We got her to do it again and again afnd on each take it got sadder and sadder. Everyone on the shoot was miserable by the final take. She probably did learn something, but she wanted to hurt me, for whatever reasons. But that is the truth of the classroom, or at least part of it. Teaching can be the saddest job. World cinema Biography books Oscars Laurent Cantet interviews.