Ensemble films are usually very difficult to pull off. Without name dropping too much, masters Robert Altman and James L. Brooks could do these types of films in their sleep, rounding each character perfectly. Every single one added up to something, and the big danger in these types of films are “wasted opportunities.” The director must justify why it is an ensemble film, and all it takes is one weak link to throw the entire thing off. Take “Babel,” for example — it’s structured a little differently from the aforementioned directors, but it still works comparatively. This writer hated the Japanese story-arc and felt that it was not only silly but handled like an amateur. Not only was it poorly done, but it could’ve easily be excised from the film and its absence, in turn, would’ve made the film much stronger and focused. No matter how good every other character or story is, all it takes is that one to bring down the whole ship. Such is the case with “Let it Rain,” though it works a bit differently — the one idea that sticks out isn’t because it is bad, but because it is too good and overlooked.
“Let it Rain,” directed and starring Agnes Jaoui, is an ensemble film following Agnes’s character Agathe, a feminist politician who returns to her childhood home to sort out her recently deceased mother’s affairs and also appear at a political rally. In this mix are Karim (Jamel Debbouze who you might recognize from “Amelie”), the son of their Algerian housekeeper; Michel, a self-proclaimed reporter that is doing a film with Karim featuring Agathe; Agathe’s sister Florence, who feels very bitter towards Agathe and is also having an affair with Michel; and Karim’s mother Mimouma, who is going through a divorce with her husband. The major theme, taken by a line spoken by Karim, is “everyday humiliation.” Padding that are plenty of infidelity and film-making potshots to go around.
The unfortunate thing about the narrative is that it gets lost in the ensemble, and Jaoui doesn’t seem to know who to stick around with and who she should ultimately cut. Much of these little story tidbits (tense sisters during their mother’s death, an old Algerian woman divorcing her abusive husband with her son thinking the family taking her in is taking advantage of her, etc.) could be fine films on their own, but to throw them into a pot and mix them together does them much injustice. That’s not to say that all of the stories are brilliant, but if given enough time they could be fleshed out properly and be worth watching. There is no room for the stories to flourish organically. The aforementioned Algerian maid story is the biggest shame, as it holds the most interesting elements but is given the least amount of time. There’s some magic there that was sorely overlooked, and to pass this opportunity to shine light on a typical character that is in the shadow of her older, more successful sister is shameful and pedestrian.
Though it doesn’t give the topics it brings out ample time, it does happen to have a good rhythm to it. You’ll be wanting more, surely, but the scenes move quickly even if certain ones could be longer. There are also a few well done sequences, namely one involving Agathe, Michel, Karim, and their film. The trio go up to a mountain to film an interview, with the beautiful backdrop of France. Sheep wander around, eventually interfering their work and Agathe storms away. It then begins to rain, and when they reach their car, it is turned over in a ditch. They are picked up by apple farmers (one of whom creepily stares at Agathe) and wait with these strangers as Agathe’s sister comes to pick them up. In this scene, Karim confronts Agathe about his mother being taking advantage of and Agathe defends her politics to the farmers who think they have been getting the short hand by the government. It doesn’t work (and isn’t played) as the “shit hits the fan” scene, where bottled up characters finally explode, but it is an interesting series of events that are well directed and contain some of the most intriguing moments in the entire film. However, like most of the scenes, it comes and goes in a mere 10 minutes. This, similarly to the house maid story, could have been much more explored and had Jaoui not been so damn eager to move on, this could have been a very exceptional sequence.
It is a positive to see a film like this that doesn’t take a moral high ground, as the film ends and certain characters continue their infidelity or remain in their spot of unhappiness. There are characters who change, and characters who stay the same, which is a realistic approach that Jaoui was smart to take. It’s also good that she shows characters at their weakest and most unlikable. Those looking to get attached to characters won’t find it here, you won’t necessarily be rooting for them but you will have a pleasant time watching them on their various exploits. Jaoui imbues a slight humor into every situation, and though it’s not a particularly funny film, the light jokes are more for the scene flow and liven up the rather minor scenes.
The film is a relatively enjoyable passage of time, but it doesn’t hold enough weight to really stick in your head, and upon thinking of it, its inadequacies only become more apparent. The film doesn’t have enough to say, and things that it would benefit from focusing on get the shaft in order to deal with less interesting things. It might not bore you throughout, but it’s likely to stay right in the theater once you exit. [C]
“Let It Rain” opens in theaters and is OnDemand on June 18th.