Edmond

Paris, 1897. It has been two years since the young Edmond Rostand, poet and playwright, has run out of inspiration. One day, on a whim, he offers a role to the great actor Coquelin aîné, that of Cyrano de Bergerac. The trouble is that Edmond hasn't written the beginning of a line. But a promise is a promise and, inspired by what happens in his surroundings, and carried by his gift for poetic language, he gradually produces lines in which no one believes but which will prove to be the framework of an immortal masterpiece.

The initial idea, to make Edmond Rostand the hero of a play and then of its filmed adaptation, is simply wonderful. Because, if his "Cyrano de Bergerac" was staged and filmed more than often, there had been little interest in his person on the screen before this particular movie. You can see the writer as himself in Sacha Guitry's documentary, "Ceux de chez nous" (1915), as part of a gallery of great artists and writers, and that's all. He could be imagined a little stiff and pompous, which is most unlikely if you consider his linguistic agility, Alexis Michalik does not see him like that anyway : the Rostand he shows us is young, full of life but shy, inspired but overwhelmed by events. Please do not take the film literally but what it actualy is, never claiming to be historical, it is rather a fantasy full of spirit and vivacity around the figure of Edmond Rostand. And even if what happens in it is not an exact reflection of reality, "Edmond" happily explores the field of inspiration, of the gestation of a work, of the influence of the immediate environment on its content at the time of its making. It would be a mistake to be picky about such intelligent and well-paced entertainment, interpreted with contagious glee by a homogeneous troupe. As a tribute, both humorous and sensitive, to a great creator, to theater, to entertainment and to love, "Edmond" is irresistible.