Brasserie Comparisons

Hi Dad, Thanks much for the info on inexpensive Bordeauxs! I'm in the process of placing my orders to have a good stock on hand at home. Our dinner for Mom's birthday last week at Old Town Brasserie last week is still on my mind. I thought the quality and creativeness of the menu were unsurpassed for the price. Clearly, Roland Liccioni has brought a taste of les Nomads and le Francais for a 3rd of the price. That said, one thing that has left me perplexed is why it's called a Brasserie. In the US it seems the term Brasserie is used to refer to restaurants with a french slant but do not reflect the true definition of Brasseries in France. Last summer, we all had the opportunity at a classic french brasserie in Reims called Le Boulingrin. My understanding is a Brasserie is a restaurant that serves all day long and does not requirement reservations like at Le Boulingrin. Brasseries tend to be less formal and have simple menu's with many choices. Old Town Brasserie requires reservations and is only open for dinner. It is also a lot fancier than any Brasserie I've been to in France. While there were some aspects of Old Town Brasserie that resemble a french Brasserie such as a reasonably priced wine list and a less formal service it seems most french visitors would not recognize it as a Brasserie. It seems the term Brasserie, as well as cafe and bistro, are very loose terms in the US as compared to France. Can you shed any light on if there is any rhyme or reason to the term Brasserie in the US to describe a restaurant? Dreaming of another trip to the fanciest Brasserie in Chicago nonetheless! Love Stephane

Nice red Bordeaux for less than 10 dollars in Chicago 
  Do not expect miracles; But, to my taste, some offer better value in that price range than their Chilean, Californian, or Australian competitors.

I’m glad you asked me that question Stéphane since in recent months I have been tasting a few of them and I intended to write about my findings on this blog. As you know, even though I have been advocating for years the good value offered by red wines from my native Languedoc, like Costières de Nimes, Corbières, Côteaux du Languedoc, or Minervois, since it is probably the area of France where wine growers and producers have accomplished the most obvious progress in vinification, I still have a deep loyalty to small red Bordeaux. And since this terribly long and depressing winter we had this year in Chicago forced me too often to limit my outdoor activities, I used that occasion to often cook French ‘’comfort food’’ type of dishes on week-ends. So, with simple ‘’cuisine bourgeoise’’ dishes like Fricassée de Poulet (chicken) aux Champignons (mushrooms), Veau Marengo (veal stew), Sauté d’Agneau (lamb) aux Tomates et aux Olives, Boeuf (beef) aux carottes, Gibelotte de Lapin (rabbit), or Filet Mignon de Porc (pork tenderloin) au Thym et à la Moutarde, there was no doubt in my mind that small Bordeaux would be ideal pairs for this kind of food.
So from late December to late March I decided to test as many red Bordeaux as I could find for less than 10 dollars . But this time I did not visited my favorite smaller wine shops (The Bottle Shop in Wilmette, The wine Seller in Geneva, Randolph Wine Cellars, South Loop Wine Cellar, Howard Wine Cellar, Wine Discount Center, and Fine Wine Brokers, in Chicago) because I suspected that my chances to find Bordeaux in that price range would be more limited there. Instead I decided to limit my search to the two largest retailers of wine in the Chicago area, Binny’s and Sam’s, since I knew that their choice of smaller Bordeaux is wider. So I went to 3 different Bynny’s wine stores on N. Clark St., W. Grand Avenue, and the most recent one on Jefferson St. in the South Loop, as well as to Sam’s main store on Marcey St,
(now bought by Binny's in 2010). 
I have to say right away that I found much better deals at Binny’s than at Sam’s, where I could spot only 3 Bordeaux in that price range. So I ended up buying most bottles at Binny’s. I tested 20 Bordeaux, but only 8 of them were, to my taste, interesting enough to be listed here. (see list below). And as usual, I checked a couple of cheap Bordeaux at Trader Joe’s and I selected one of them in this list. I was a bit apprehensive to start with, since a few months before I started this particular search I had bought a few remaining 2003 small Bordeaux and I found their merits sometimes inconsistent, even though I have to admit that some were very good. I was hoping to find some good 2004, a year that has been a bit underrated and that produced some very decent Bordeaux sold at very reasonable prices. In fact I think that 2004 might prove to be a very interesting vintage.

But for some reasons 80 % of the wines I found on the shelves of these 2 retailers were already 2005’s. Now, everybody is claiming the charms of this vintage and some say it might prove as good if not even better than the 1982, 1990, or 2000, in red Bordeaux. Some writers even used, once again, the famous ‘’vintage of the century’’ superlative, which in my opinion is a bit far fetched now. The weather was so warm and dry during the growing season that the grapes, a bit smaller than usual, were very mature at harvest time, but with a high ratio of skin to juice, resulting in wines with a high level of concentration. It also meant a higher level of tannins, especially in the Cabernet-Sauvignons. Fortunately nights were cooler for a few weeks before harvest time, allowing to keep enough acidity in those grapes for good balance. So I think that for the great wines from the Médoc or the Graves, it will be a good idea to wait a few years before we can have a precise idea of the level of greatness of the 2005 vintage. I would like to point out however that nowadays, Bordeaux growers who have been suffering from the competition of ‘’New World’’ wine makers, mainly from Australia, Chile, and the United States, are sometimes trying to imitate them. 
These “New world” wine makers were successful in their effort to please the taste of the new generation of younger wine drinkers, especially in Europe and in the U.S., who enjoy softer, fruit-forward but too often jammy for my taste, easy to drink mellow red wines. So some Bordeaux wine growers have started to vinify their wines to satisfy this new demand. They now offer wines that do not need long cellaring, can be drunk young, have softer tannins, and unfortunately have much less originality and ‘’terroir’’ personality that their predecessors. To me it is a bit of a shame that not only a few Bordeaux start to taste like their Australian or American Merlots or Cabs counterparts, with no real balance (too much fruit and not enough acidity), but also that so many French liquor and wine groups, have invested massively in these new world countries to produce there what is becoming a large chunk of their main competition in their own turf. However, a few small independent ‘’propriétaires-viticulteurs’’ (small vineyards owners) have continued to make more traditional Bordeaux, with a good fruit-to acidity ratio, some nice tannic properties, and a minimum of body and structure. They do not try to systematically produce soft, immediately pleasing wines, that do not require any effort to appreciate. They still believe in the merits of their own soil and weather, a minimum of aging, often in small oak barrels, and in their own inherent ability to create a balanced blend of Merlot, Cabernet-Sauvignon, Cabernet Franc, perhaps a bit of Petit-Verdot or Malbec (a grape that seems to come back in fashion these days, after its success in Argentina). That is the kind of ‘’petits Bordeaux’’ that I was looking for. They are usually simply labeled as ‘’Bordeaux’’. If you are very lucky, you can sometimes find a Bordeaux Supérieur, and even less often a Côtes de Bourg or Côtes de Blaye, ‘’on sale’’, in that price category. But I have to admit that you cannot expect them to compare to a Médoc, a Saint-Emilion or a Graves. The finish of many of them is a bit short. You will not jump out of your chair in ecstasy after the first gulp...and chances are that most of these wines will benefit from a few minutes of oxygen. In any case: Long life to these brave small producers... And let’s enjoy these wines that are neither for the elitists, snobs, sophisticated “foodies”, or fashionistas, but simply for people who enjoy well-made wines with character and personality. And believe me, dollar for dollar they provide more clean satisfaction and pleasure than some of their presently popular competitors.

Here are a few small Bordeaux that I found in Chicago which in my opinion are decently made. Most of them can be drunk now. 

The numbering corresponds to my own preferences in decreasing order after only one tasting. 1. CHATEAU COMBRAY Bordeaux 2005 Produced by Ginestet, Bordeaux, a large old distribution house that owns vineyards and has its own winemakers to blend wines. Imported by Glazers, Dallas Distributed locally by Chicago Wine Merchants 7.99 dollars at Binny’s Gold Medal at the Concours General Agricole, Paris 2006 Merlot 70% Cabernet Sauvignon 20% Cabernet Franc 20% Seductive dark ruby color Pleasant nose, slightly smoky Good balance fruit-acidity Relatively soft tannins Some body . Rather dry structure. Notes of ripe black cherry and black currant Decent but finish is a bit short Altogether a nice little wine that will please the more “traditional” palates, as well as the more “contemporary” American wine drinker.  
2. CHATEAU LESTRILLE Bordeaux Supérieur 2003 Estelle Roumage, viticultrice (wine grower) Imported by Fine Vines, Melrose Park, IL 8.99 dollars at Binny’s (The 2005 to come out now will be a bit more expensive and will be a bit over this present price range) 100% Merlot Great nose Good body and structure Very smooth tannins Good fruit but well balanced. Notes of cherry A touch of leather Very nice finish A very pleasant wine that will satisfy young American drinkers.  
3. CHATEAU ROLAND LA GARDE Premières Côtes de Blaye 2005 Produced by Bruno Martin in a legendary castle where Roland, Charlemagne’s favorite Knight who was killed while passing the Pyrenees Mountains. 9.99 dollars at Binny’s Hand harvested 67% Merlot 33% Cabernet Sauvignon Aged in new French Oak barrels Very rich dark color Pleasant earthy nose with notes of dark cherry and a touch of coffee Rather tannic but no harshness Some elegance that should develop with age Still a bit thin in terms of structure and complexity but full bodied Nice finish Obviously the result of good vinification, this wine is already quite drinkable but it should improve considerably in a couple of years . 
4. CHATEAU MICHEL DE VERT Lussac St. Emilion 2006 Produced by Vignoble Laubie in Lussac. But bottled by Ginestet. Imported by Plum Ridge 7.99 dollars at Trader Joe’s 80% Merlot 20% Cabernet Sauvignon Nice dark ruby color Decent structure for such a young wine Good Fruit-acidity balance Still a bit thin Not as good as the 2004 but still a very good value. In spite of its youth is quite drinkable
5. CHATEAU NODEAU Côtes de Bourg 2005 Vignobles De Pardieu 7.99 dollars at Binny’s Essentially Merlot. Very good feeling of ‘’terroir’’ Tannins are rather masculine but relatively soft Some notes of berries A ‘’real’’ Côtes de Bourg’’ Will certainly mellow a bit over the next 2 years, but quite drinkable now.
6. CHATEAU NICOT Bordeaux 2005 Vignobles Dubourg 7.99 dollars at Binny's
Merlot and Cabernet-Sauvignon
A very pleasant, well balanced, round wine with soft tannins.
7. CHATEAU DES JUDES Bordeaux, 2005 Vignobles Lavaud Imported by Glazers in Dallas. Distributed locally by Chicago Wine Merchants. 8.99 dollars at Binny’s Gold Medal at the Concours General Agricole, Paris 2006 Merlot 70% Cabernet Sauvignon 20% Cabernet Franc 10% Dark purple color Pleasant nose Good body Relatively soft tannins Notes of dark red cherry and some licorice Pleasant to drink now but short on finish Has potential. Will probably improve in a couple of years
8. CHATEAU BOESSIE Bordeaux 2005 7.99 dollars at Binny’s Merlot 60% Cabernet-Sauvignon 40% Dark color Rather bland nose Powerful but already softening tannins Strong body Notes of grilled bread and ripe black berries Will probably develop nicely but needs at least 2 more years Again, good potential but still lacks distinction and finesse at this time 

Some other low-priced Bordeaux wines that I tasted, but that for one reason or another did not seduced me enough to prompt me to go back to the store to buy a second bottle. However they are quite drinkable. 

Château la Raballe Château Mylord Châteu Val Darel Château de Lisennes Château Grand Montet Mouton-Cadet Château de la Taille Château Prignac Château les Remises

A ta santé

Bordeaux's with good value for the money

Hi Dad, I've been digging around for low priced Bordeaux's here in silicon valley but come up mostly empty. Given there are many places online to order wine I'd love a few suggestions on a few low cost bottles of Bordeaux I can enjoy! I am still drinking various California meritage's and clarets' from time to time but they are no match in terms of value for the money with a lesser known Bordeaux. The California Bordeaux style blends are so pricy and still lack the complexity of many a low-cost Bordeaux you've poured for me over the years. Any Bordeaux's you can reccomend that are in the $5-$20 range would be perfect. Love Stephane

Pommes Frites, commonly called “Frites”:
What a treat, when they are made the right way.

But lots of doubts still exist about the “French” origin of their American cousins, the so-called “French fries”.

Ah Stéphane... your question a few weeks ago about your difficulty to find good ‘’fries’’ in the Bay Area that would be as good as those ‘’ frites’’ that you eat in French restaurants brought back many fond images and memories into my poor half-frozen (from our Chicago very cold winter) brain.
As a matter of fact it is true that nowadays it is not that easy to find very good ‘’frites”, made the traditional way, in American restaurants. Most of them use frozen fries, which does not mean that they cannot generate decent fries. As a matter of fact, it is also the case in most French restaurants.
About 12 years ago, we were visiting a very amusing flea-market in Montpellier, France where we were on vacation. At one point your brother Théo complained that he was hungry and thirsty. So I went to the concession at the end of the market, a simple trailer, and ordered some ‘’frites’’ and a coke. And of course we could not help but stealing a few fries from him. They were so good that I immediately went back to the food concession to buy some more, and both your mother and me agreed that they were the best fries we had since we arrived in France. So I asked the manager of the concession if they were freshly cut fries. He said: "are you kidding... we do not have the time to cut fries ourselves. We buy them frozen". So I asked him who was his supplier. He took me to the garbage container behind the trailer and said ‘’ Here is the empty carton, read by yourself’’. I read and I could not believe what I saw:
"Made by Mc Cain, Illinois, USA..." Coming to France to eat American frozen fries; That was quite a shock. But perhaps those good fries were produced in France where Mc Cain has some of its largest European plants

Speaking of fries sold by street vendors: When I was about 12 year-old, my mother decided that it was time for me to learn how to defend myself since I was the subject of too frequent attacks by bullies at school who enjoyed kicking and punching my, at the time relatively frail, body for various reasons.
So she sent me to take judo lessons 2 times a week after classes from an older man, who had a ‘’black belt’’ ranking in that sport. He lived in an apartment about 20 minutes walking from our house in Reims. I detested those lessons, but... if I had a few coins in my pocket , I bought myself a nice treat on my way back home. After I left the man’s place I had to cross a bridge over some railroad tracks, Le Pont de Laon. I would run on the bridge knowing that at the end of it was TOTO FRITES’place. It was one of these small trailers, much smaller than their pizza counterparts in French southern villages, where a gruff man, Toto, who was always smoking a cigarette and whose nails were as black as a piece of coal, was cutting, washing, drying and frying potatoes that were very greasy, but incredibly tasty. In fact even Today they still rate in my memory among the best I ever ate in my life. This type of mini-trailer which was in fact stuck for good on jacks and no longer had wheels, was called a ‘’baraque à frites’’, and every town in Northern and North-East France had many of them. Toto’s baraque was poorly lit by a kerosene lamp, whose fumes added to the marvelous odor of the bubbling ‘’friture’’ that you could smell 300 yards away.
Toto served his beauties in a paper cone made from pages from the local newspaper, ‘’l’Union’’, and after I added more salt from the big tin shaker available on the counter, I would eat them as fast as I could before the grease would run through the newsprint. Boy, were they good. Sort of thicker-cut that the average ‘’frites’’ that we ate when we went to the carnival on the nearby ‘’Place du Boulingrin’’, but much tastier.
My mother who once discovered my secret when I came to the dinner table with my mouth still shiny from the grease, yelled at me for eating such bad food, and explained to me that they were probably fried in a mixture of cheap animal fats, like ‘’saindoux’’ (lard), beef fat or suet, and perhaps horse fat. In any case it was not good for me, even though in 1952 the word Cholesterol was nowhere to be found in the Larousse dictionary. My father, who was born in Northern France near the Belgian border from a Belgian father, and who lived part of his adolescence in Antwerp, loved ‘’pommes frites’’ like all Belgians do. He would come to my defense and argued with l my mother that if she would prepare ‘’frites’’ more often I would not have to buy cheap and poor quality ones from dirty street vendors. He also told us that whenever he was in that neighborhood near the Pont de Laon he would himself have a ‘’cornet de frites ’’ chez Toto.
Just thinking about it make me drool and I can hear in my head the marvelous song ‘’ Un cornet de frites’’ that Yves Montand sang so nicely in the early fifties.
Anyways. My mother made some beautiful pan-sautéed potatoes, but the rare times when she accepted to make ‘’frites’’, they were of a very different style: light, crunchy, good but not greasy enough for me . My nutrition-conscious mother would fry them in a traditional black metal fryer in either ‘’Vegetaline’’, the equivalent of Crisco, or ‘’huile d’arachide’’ (peanut oil), like they have been done in most French restaurants and families since 1947. Peanut oil in those days was produced in some French African colonies, and was not as expensive as it is now, especially in the U.S.
Nevertheless, after the actual frying was done, she would let the fat cool down and somewhat solidify at the top if it was Vegetaline, which allowed the ‘’graillons’’, these tiny particles of burnt fat and potatoes, to get up to the surface and to be removed easily. Then she would cover the fryer and it would stay that way in the pantry until the next ‘’friture’’.

Personally I use peanut oil when making ‘’pommes de terre sautées’’ at home. But your mother's delicious "frites" are in fact "fausses frites" since, once she has cut hem with a knife, she put them in a bowl containing and mix them well in a mix of 3 Tb of Greek olive oil and garlic salt. Once they are well impregnated but not soaking wet, she lay them on a baking sheet and bake them in the oven, at 425 degrees , for about 20-25 minutes, turning them over once.

The other great frites of my youth were found at ‘’ Chez Francis’’, a French brasserie that was on the opposite sidewalk of my grand-parents building on the Boulevard James Fazy in Geneva, Switzerland. They were served ‘’à volonté’’ (as much as you could eat), as a vegetable accompaniment to their marvelous ‘’entrecôtes’’ (rib-eye steaks). Between 1950 and 1970, I probably ate thousands of these golden-hued thin ‘’pommes-frites’’ that were never greasy, slightly crispy outside and soft inside as they should be, and always kept hot on their tin plate that was put on a small ‘’meta’’ burning dish-warmer in the middle of the table.

Some years later in Paris, in the mid-sixties, I found the same kind of perfect ‘’frites’’ at L’Entrecôte, Rue de Verneuil in the 7th arrondissement. It was the same formula as Chez Francis in Geneva, with the same ‘’frites à volonté’’ placed on their dish-warmer. I do not think that the original Parisian ‘’Entrecôte’’ still exist in 2007, or it has probably changed ownership many times. But I thought it was reborn in America when some summers ago, your mother and I had a delightful steak with ‘’frites à volonté’’ in San Francisco. The restaurant was called ‘’Café de Paris L’Entrecôte’’, on Union St., and the fries were almost as good as at the original "Entrecote" restaurant in Paris. But I learned that in fact their model was in Geneva, Switzerland, and that they had an exclusive right to use the original recipe for the famous butter sauce of the entrecôte that was created in 1941 at the Cafe de Paris... in Geneva precisely.

During my last year of college, in Paris, the famished and poor student that I was at the time in 1963 used to go to '' Les Palmiers", Rue des Halles at the heart of what was then ‘’Les Halles’’, the huge and lively vegetable, fruit, and meat central market of Paris, just north of la Place du Chatelet. There I would eat enormous "saucisse de Toulouse" (pork sausage) sandwiches with ‘’pommes-frites’’. The frites would be placed above the sausage inside the open piece of fresh baguette. It was greasy but delicious and comforting after an evening spent working on a philosophy essay due the next morning at La Sorbonne. In Northern France, this very popular type of sandwich is called "Un Américain Saucisse''.

In recent years, when I was craving for traditional “pommes frites” I would go to La Biche Au Bois, Avenue Ledru-Rollin, near the Gare de Lyon in the 12th arrondissement. And if I did not have the time to go that far from my regular Paris home-base in the 15th arrondissement, I would be happy with a side order of frites with my ‘’Salade Auvergnate ‘’ (that includes country ham, and Cantal cheese) at my local regular neighborhood café-restaurant ‘’ A la Tour Eiffel’’, Rue du Commerce in the 15th. (see ‘’My French Gourmet Vacation’’ on this blog for details). And I have a pleasant memory of the frites at ‘’ Le Chien qui fume’’ in the old Les Halles district.
I haven't gone there in years , but I understand that the ‘’pommes frites’’ at the good old Bouillon Chartier, an old- style restaurant for employees of the nearby businesses Rue du Faubourg Montmartre in the 9th are still good.
Most old-fashioned "brasseries" and large " traditional bistrots" like Chez Georges and Gallopin in the 2nd arrondissement, Terminus Nord and Brasserie Flo, in the 10th , La Coupole in the 14th, Thoumieux in the 7th, Balzar and La Closerie des Lilas in the 5th, La Rotisserie d'en Face in the 6th, Le Ballon des Ternes and another Chez Georges in the 17th, Le Boeuf Couronné in the 19th, used to have very decent fries. But I cannot garantee that it is still the case in 2008.

In Chicago, when I arrived in January of 1970, my favorite fries were served with a very good hamburger at the long defunct Brief Encounter, a small but very clean and pleasant store-front diner in the 360 North Michigan building. They were thin-cut but always well fried and not soggy. But the best ‘’pommes frites’’ I ever tasted were at Le Bastille restaurant that unfortunately closed its doors forever in the mid-eighties.
You will find here below a list of some restaurants that still offer good ‘’pommes frites’’, made the right way that I will explain later.






Grandson Sebastien enjoying his fries at the brasserie "A la Tour Eiffel" in Paris during our summer vacation last July

So, what exactly are real ‘’ Pommes de Terre Frites’’ and where do they come from?

Real ‘’pommes frites’’ should be called "pommes de terre frites" (fried potatoes) are pieces of potatoes cut in elongated sticks about 1 cm thick from a relatively large tuber with a high level of solid dry matter like a Bintje in Europe, or a Russet from Idaho or Wisconsin in the U.S. Once they are cut, with a butcher knife or a special fries cutter, in a very consistent length and thickness, the fries are washed in cold water for a few minutes to remove as much starch as possible from their surface. Then they are dried thoroughly in a cloth or paper towels. They are pre-cooked (a little more than blanched) in a bath of frying oil, like peanut oil, at a temperature of around 328 degrees F or 165 degrees C for 6 or 7 minutes. Then they are removed to a strainer. The final frying is done for about 5 minutes once the oil temperature reaches 356 degrees F or 180 degrees C. When they are nicely colored, they should be removed from the fryer and immediately drained and blotted on several layers of paper towels. Then they are salted and served very hot. If they are eaten while they are still hot, they will remain crusty outside and soft inside and will be light, not greasy, and easier to digest, since the moisture will not have the time to come out from inside the potatoes through steam and make them slightly soggy and greasier.
Most food historians agree on the fact that the idea of frying the potatoes in two successive baths of fat, comes originally from Belgium. And most connoisseurs still think that the best Belgian fries are fried in animal fat.

But there is still a big controversy between the French and the Belgians about the real origin of the ‘’pommes frites’’.

According to the ‘’Belges’’, in the early part of the 18th century relatively poor people living on the banks of the Meuse River, in cities like Namur, Huy or Dinant, used to fish small fishes in the Meuse River and deep-fry them to complement their meager food supplies. But when the river got frozen, they had the idea of cutting pieces of potatoes imitating the shape of fishes and to fry them. So were born the first pommes frites. And since small fishes were called ‘’fretin’’ in this French speaking part of the Belgian Netherlands, some people even think that the word ‘’frites’’ may in fact be an adulterated version of ‘’fretin’’. It seems a little far-fetched to me.
What we know for a fact is that many French ‘’proscrits’’, citizens who had been banned in France after 1850 and the political coup d’état by Louis Napoleon, who had fled and started a new life in Brussels, as well as political refugees, including several chefs, in 1870, popularized the fries in Belgium. The many ‘’friteries’’, eateries devoted to fried potatoes, that you find in Belgium would be in fact a French import.

The French date the origin of the pommes-frites back to the time of the French Revolution of 1789, just 3 years after Parmentier started to promote the virtues of the potato that most French people were not really interested in eating at that time, when their Spanish neighbors had been consuming them since the end of the 16th Century, and the Belgians since the end of the 17th century. But several years of bad wheat harvests, and periods of real famine, between 1785 and 1788, contributed to put the ‘’pomme de terre’’ on most French dinner tables. In fact the largest part of the potatoes grown in Europe until the 18th century were given as food to farm animals.
In 1789, a man whose name I could not find started to sell fried potatoes under the famous Pont Neuf over the Seine river, located at the west-end of the Ile de la Cité. It became an instant success and those fries became known as ‘’Pommes Pont-Neuf’’. Nowadays, many traditional French restaurants and brasseries still call their ‘’pommes frites’’ ‘‘pommes Pont-Neuf’’.

Several variations of ‘’pommes frites” are found in restaurants, both in France and in the U.S.:

‘’Pommes pailles” are “shoestring potatoes”. They are cut with a mandoline and fried in a single bath.
“Pommes allumettes” are thin-cut fries known as “Matchstick potatoes”. They are cut with a knife and fried in two baths.
“ Pommes gaufrettes” are shaped like thin, round, mini waffles.. They are cut with a mandoline and fried in one single bath

• Most French people, especially from the older generations, and that includes me, like to eat their ''frites'' au naturel, meaning as is. Some younger French people love to use ketchup or even mayonaise, like they do in Belgium. In Northern France, and even in some small ''friteries'' in Paris, lots of fries lovers enjoy a splash of vinegar on them.

Now, let's clarify a few points about the origins of the so-called French Fries in the U.S.

When some American political opinion-makers decided to punish the French for condemning the U.S intervention in Iraq in 2003 by renaming French Fries Freedom Fries, I had a good laugh.
Obviously, most of these pundits ignored the fact that the term French does not refer to our country, but to a special way to cut vegetables in sticks, or in a julienne fashion, called ‘’frenching’’. This same culinary term is also used in the U.K to define the trimming the fat from lamb chops when used to form a rack of lamb.
But this origin is disputed by some food historians who claim that in fact the use of ‘’French’’ actually relates to the French origin of these fries.
Some note that Thomas Jefferson discovered them when he was the U.S ambassador in Paris, and that he loved so much these ‘’ Pommes de terre frites à cru en petites tranches’’ , according to his own manuscripts, that he brought the recipe back to Washington.
My favorite explanation is that during World War One, several battalions of American, British, and Canadian soldiers fought in the Belgian region of Yser, in French-speaking western Flanders. This is where they discovered fried potatoes. And since the locals spoke French in that specific area, when the soldiers brought the recipe back home they naturally called them French Fries because they were told in French how to prepare them.


A few restaurants in Chicago where you can eat good “pommes frites” cut by hand and fried in two baths:

Chez Joel: 1119 W. Taylor St. Chicago, IL Tel: 312-226-6479

La Sardine: 111 N. Carpenter St. Chicago, IL Tel : 312-421-2800

Le Petit Paris : 260 E. Chestnut St. Chicago, IL Tel : 312-787-8260

Marché : 833 W. Randolph St. Chicago, IL Tel : 312-226-8399 ( now closed}

D& J Bistro: 466 S. Rand Rd. Lake Zurich, IL Tel: 847-438-8001

Hot Doug’s: 3324 N. California, Chicago, IL Tel: 773-279-9550
I was told that ''Hopleaf'', a Belgian gastropub at 5140 N. Clark Street, Tel: 773-334-9851, that sells more than 100 different Belgian beers, makes very good traditional frites in the "Belgian style". But I have never been there myself.

Other interesting ‘’frites”

At the 4 star EVEREST, one Financial Place Chicago, Tel: 312-663-8920, famous Alsatian-born chef Jean Joho told me that when from time to time he has a "côte de boeuf'' on the menu he serves it with pommes-frites fried in clarified butter ... Must be something extra special.

The new Old Town Brasserie 1209 N. Wells St. Chicago Tel: 312-943-3000 is the only one that lists “ Pommes Pont Neuf” on its menu. Knowing the talent of his chef, Roland Liccioni, I am pretty sure that they are made the traditional way. ( Now Closed)
Kiki’s Bistro, 900 N Franklin St. Chicago, IL Tel: 312-335-5454 serves deliciously crunchy “pommes pailles” with its steak. They are very tiny but fresh cut and fried in two baths.

Le Café des Architectes, in the Sofitel Hotel, 20 E. Chestnut St Chicago, IL , Tel: 312-324-4000 makes good hand-cut “matchsticks” fried in one bath.

Good food ingredients in the U.S. ? Yes, they exist but you only will get what you pay for...

Story of a lost “ lapin chasseur”.

As you know, Stéphane, I too frequently complain, when I cook , that the results I obtain here are not as good as those that I get when I cook the same dish in France. The dish rarely reaches the same level of flavor and personality and too often turns bland. And I always add: ‘’It is because the ingredients are not as good as in France’’. Last summer, every time I went to shop for food, I was amazed when I bought various ingredients, like meat, chicken, eggs, cheese, and especially vegetables and herbs, how expensive they were compared to what I pay in Chicago. But when I cooked with them, it really smelled good in the kitchen, and when we ate them it really tasted much better. So, I would say to your mother: ‘’ Au moins, on en a pour son argent’’ (At least, what I got is worth what I paid for ’’). Anyway, as I told you a few weeks ago, since we have a really rough and depressing winter, I feel like preparing old French bistrot-type winter dishes, that are most of the time cooked in a sauce. As we say in France, ‘’ Des plats roboratifs qui tiennent au corps’’ (invigorating and filling dishes). And now that I have a ‘’cocotte-minute’’ (pressure cooker), thanks to you... Er... Santa Claus, it is less a time-consuming event to prepare them, even during the week. So, this week-end I had decided to do a ‘’Lapin Chasseur’’ (Rabbit stewed in ‘’hunter’’ style, meaning with mushrooms and wine). To me rabbit is the ultimate ‘’comfort food’’ and I have been an avid rabbit eater since childhood. To the point that for my Fiftieth birthday, I had asked my friend Yves Roubaud, who was the executive- chef at Shaws at that time, to prepare a provençal lunch for my friends and I, that would include a ‘’lapin à la provençale’’. That was 18 years ago, but I still have the exciting aroma of his rabbit on my taste buds. I have no idea where he had found that rabbit, but it was quite a tasty and meaty animal.
So, since a good fresh rabbit is very difficult to find in Chicago nowadays, and when you find it, like at Fox & Obel, it is so expensive that you give up, I went to this huge Korean super-market in Niles, where you not only find an amazing collection of fresh fish, shellfish, and mollusks, but also tons of frozen rabbit, for a ridiculously low price. Since it was only for your mother and me, I bought a small rabbit, barely 2 Lbs, for only 4.75 dollars, instead of the 18 dollars a fresh one would have cost me at Fox and Obel. . Problem is, it took a whole day to thaw, and like almost any rabbit that you buy in a U.S. supermarket, it had no head, no liver, no heart, and worse: no kidneys. Besides it was way too lean. The kidneys are very important because of the very white pieces of fat attached to them that gives a special taste to the sautéing.
I tried to ask a butcher where their rabbits were coming from, domestic or from some Asian country, but got only a very evasive answer from the giggling man who tried to tell me that they were American. Once my rabbit was defrosted, I had serious doubts that it was an American rabbit, since this poor anemic animal looked like it had been deprived of nourishing herb and carrots, and was probably the product of an industrial production chain. Some years back, I used to buy fresh American rabbits raised in Arkansas or Mississippi, that I found at Treasure Islands, and they were quite meaty and tasty, not as much as a ‘’Lapin du Gâtinais’’, but they were quite edible. Anyway, since the color of the meat was totally adequate, and it was smelling OK, I hoped for the best and decide to proceed with my initial cooking plan, that involved a simplified and quick formula. I cut the rabbit in 7 pieces, browned them briefly in a pan in a mix of butter and olive oil, while I was sautéing 2 chopped onions, 3 shallots and the “lardons” (small pieces of sliced thick-cut bacon) in the cocotte-minute. Then I added the pieces of rabbit, 2 pinches of dried thyme, a bay leaf, 2 cloves of garlic (diced ), 1 sliced carrot, and 1 small can of already cooked white mushrooms (what we call in France ‘’champignons de Paris’’), + one spoonful of tomatoe concentrate diluted in warm water. Then I covered everything with one and a half cup of dry white wine (Sauvignon Blanc), and mixed in one Tb spoon of cornstarch diluted in warm water. After stirring everything , I covered the pressure cooker with the lid , turned the flame a little higher, and once the steam came out with a hissing sound from the safety valve, I cooked the dish for 20 minutes at relatively low heat. But when I opened the pot, I was quite surprised by the very limited amount of aroma that came out of it. I served the sauce, that looked like it should be, over farfalle pasta. The meat was very tender but totally bland and could not hold the comparison with my fresh rabbits of a few years back.  
What a disappointment. I think that the quality of the rabbit was at fault. And that I should have used salt pork instead of bacon. And that the dish would have been tastier if I had used fresh sliced mushrooms instead of the cheap generic can from Jewell that I bought in a hurry. And that a little flour instead of the diluted corn starch I used to go faster would have made a more unctuous sauce. After dinner I said to your mother: ‘’ After all, you get what you pay for’’. But we could not find an exact equivalent of this saying in French. So, the always biased me told her : ‘’ It is because in France the ingredients are much better’’. So, over there we say the reverse: ‘’ At least, what I got is worth what I paid for ...’’ Next time I will try to put to practice what I learned again for the 100th time last night Don’t be cheap with the ingredients. And if you cannot afford the right ones, cook another dish.

My favorite movies of 2007 on DVD

MY FAVORITES MOVIES OF 2007 (part 2) 
  Films I rented or saw on my DVD player: 

  1. ESPIRITU DE LA COLMENA (THE SPIRIT OF THE BEHIVE) Victor Erice (Spain, 1973)

I always wanted to see this film that has been for a long time the object of a real cult among the European film critics that I respect. Unfortunately, it never benefited of a large commercial release in the U.S., although a new copy was re-released in a very few venues in 2007, including in Chicago. It is a very important film in the history of modern Spanish cinema, since it was one of the few in that delicate transition period that dared to brave the censorship of the Franco regime towards the end of his dictatorship in dealing with the painful subject of repression and fear during the terrible Spanish civil war. The story takes place in 1940 precisely at the end of the Civil War in a small Castilian village where to young sisters, Ana, the youngest played by the marvelous Ana Torrent, who was 7 year-old at the time of filming and became famous 3 years later in Carlos Saura’s “Cria Cuervos”, and 10 year-old Isabel, live in a big country house with their parents. We soon find out that the father, who’s life revolves entirely around his caring of and writing about bees, and the mother who writes letters to an unknown far-away lover and dreams of a more fulfilling life, do not have a happy life together and are not very caring about their daughters who spend a lot of time by themselves. The parents relationship obviously has been seriously impacted by the war. The visit to the village of a traveling picture show featuring the famous “Frankenstein” shot by James Whale in 1931 with Boris Karloff, is going to excite Ana’s imagination and phantasms to the highest point, since her sister makes her believe that a monster like Frankenstein’s lives nearby but is in fact a spirit, and can be met by being called by anybody who cries his or her name. Ana will look for him and find instead a wounded young man, a fugitive Republican soldier probably shot by the Guardia Civil, in an abandoned barn . She will believe that he is the reincarnation of the monster and will feed him and help him, until her parents bring her back home while she is traumatized by the experience. This beautiful but very melancholic film, shot by a great director of photography, Luis Cuadrado, who was progressively turning blind during the filming of this movie, is very lyrical and poetic, and sometimes flirts with an eerie expressionism. You will be haunted for a long time by the very moving musical score. It is too bad that Victor Erice shot only 3 feature films in 34 years. This one, his first, was followed by El Sur (The South) in 1983, and “Quince Tree of the Sun”, a beautiful essay on art in 1992. But “Spirit” is probably one of the most authentic masterpieces of the European cinema in the Seventies.

2. TOKYO EYES Jean-Pierre Limosin, (Japan-France, 1998)

I had read a lot about this director who made only 5 feature films, but is well-known for a few very good made-for-TV documentaries including portraits of famous Iranian director Kiarostami, and of legendary Japanese actor-director “Beat” Takeshi Kitano, who has a very funny cameo appearance as a not too bright Yakusa gangster in Tokyo Eyes. I had rented his interesting NOVO (2002), that tells in a very glossy and stylish way the sex and love adventures of an amnesic young man. But I did not expect such a thrilling and creative movie. TOKYO EYES , written by Limosin, was supposed to be shot in France with French actors. But Limosin, who is fascinated by Japan but does not speak the language, decided suddenly to instead shoot it entirely in Japan, with Japanese actors, and in Japanese. He took with him his very gifted director of photography Jean-Marie Fabre who created a very exciting and fast moving cinematography that reflects perfectly the local urban environment, and recalls the style of imagery and rhythm the great Australian cinematographer Christopher Doyle had created in “Chungking Express” in 1994. The story line is very entertaining: A young computer and video games programmer, K, played by the impressive Shinji Takeda, is a vigilante during his free time and shoots people, like bullies and night club bouncers, whose behavior he disapproves. But before shooting them he modifies his gun and wears very thick glasses that confuses his vision, so that he voluntarily misses his targeted victims. The sister of the policeman who is tracking this “faux-serial killer” nicknamed “four eyes”, a very sexy and alert young hairdresser played by Hinano Yoshikawa, a Japanese model and singer, is fascinated by this case that her brother does not seem to eager to solve. She manages to identify and to meet K, becomes his friend and gets romantically involved with him. He will eventually be fatally shot by his own gun in the hand of the small time gangster played by Kitano who fires it by accident. But K. seems to survives and will be reunited with Hinano in a very mysterious ending. The whole film is reminiscent of French New Wave films, especially Godard’s. At one point the girl is dressed like Anna Karina in a “Woman is a Woman”. This film is a pure cinephile’s delight.

3. LE PETIT LIEUTENANT Xavier Beauvois, (France, 2005) Xavier Beauvois,

whose 5 feature films have not been widely released in the U.S , is a 40 year-old man who left his native working class environment in Northern France to come to Paris to learn cinema, with the help of the great Jean Douchet, a famous movie critic and professor. After being the assistant director of André Téchiné, he reached relatively rapidly a good level of recognition in 1995 with his second feature film ‘‘ N’oublies pas que tu vas mourir’’, that was rewarded the coveted Prix Jean Vigo and the Jury Prize at the Cannes film fest, that touched both critics and general audiences with his lyrical but very restrained story of the daily life and relationships of an HIV-positive student in Paris. With this film, that was nominated for 6 Césars (the French equivalent of the Oscars), Beauvois reaches an almost perfect level of balance between a very precise narrative process, and a very efficient directing style, sometimes reminiscent of Techiné and Tavernier, but in a much more contemporary and austere way. His story describes the evolution of a charming but tough and ambitious young man, Antoine, played very convincingly by the very good Jalil Lespert whom we had discovered in ‘’Human Resources’’ who, as soon as he graduates from the police academy and after some work in a small provincial town’s police station, decides to go to Paris and volunteer to work as a detective (he has rank of lieutenant) in the crime department of a commissariat (district police headquarter). He leaves behind his young wife and his parents and friends. The first part of he film focuses on his discovery of the tough but sometimes boring routines of his new job, and his relations with other cops, among them Solo, played very efficiently by Roschdy Zem (‘’Indigenes’’). The description of his work and of his new life is described in a almost documentary style. It is probably one of the best depiction of what is really the daily life of a police station ever filmed. The second part is more focused on a specific investigation about the death of a poor immigrant Polish homeless man, found in the Seine river. And essentially about the relationship that Antoine develops with his boss, a veteran female police inspector who is recovering from alcoholism and the death of her son, who was the same age as Antoine’s. This role is perfectly played by Natalie Baye who was justly awarded the Cesar of the best actress. The cinematography by the super director of photography Caroline Champetier, one of the best in France, is very precise and avoids all easy clichés often found in the ‘’noir’’ or ‘’policier’’ genres.  

4. FREE ZONE Amos Gitai, (Israel, 2005)

I consider this Israeli director as one of the best story-teller in the present international cinema landscape. I still have vivid memories of the intensity of emotions I felt while watching some of his best films such as “Kippur”, “Kadosh”, “Kedma” or “Yom Yom”. Once again we are sharing the complex relations between individuals within the framework of the turmoils linked or derived from the Israeli-Palestinian, or Israeli-Arab conflicts. This time it is almost a “road movie” involving a very strong Israeli woman, Hanna, who drives a taxi, and her American passenger, another strong but emotionally disturbed woman called Rebecca, who insists to accompany Hanna to the “Free Zone” , a strange no-man’s land between the borders of Syria, Iraq, and Saudi Arabia, where all kinds of not necessarily legal business deals are negotiated. Hanna needs to drive there to collect an unpaid debt to her wounded husband from a former partner who sells military vehicles in that strange Free-Trade Zone. Rebecca needs some perspective to distance herself from her separation with an Israeli boyfriend who might have shown some nasty behavior against Palestinian refugees. They will find, when they finally reach their destination that both the man they are looking for and the money are gone. Hanna forces a Palestinian woman who works for him to drive with them and help in finding him. The rapidly changing nature of the relationship and of their initial personal objectives between these 3, culturally different, women is fascinating to follow. The Palestinian actress Hanna Laslo won the Best Actress at Cannes for her role as Hanna, but both Natalie Portman, and Hiam Abbass (“Paradise Now”) are equally convincing. At the beginning of the film that takes place near the famous Wall in Jerusalem, there is an extraordinary long take, in one shot, of Natalie Portman crying alone in the car, that is a piece of cinematic anthology. Besides, the shooting in this Arab zone by an Israeli film director constitutes in itself a premiere.

5. QUAND LA MER MONTE (WHEN THE SEA RAISES) Yolande Moreau and Gilles Porte (Belgium, France, 2004)

Sort of a masterpiece in a minor genre, this gem of a very touching, and beautifully written and directed film, was perhaps my best surprise of the year when I rented it from Netflix. I knew Yolande Moreau, a Belgian comedian with both an unusual physical appearance and a unique way to phrase her sentences, after having seen her many times on French Television in the very popular farcical short sitcoms series “ Les Deschiens". In the early eighties she also wrote, directed , and played in a one-woman travelling show, “Sale Affaire, du sexe et du crime” (Dirty business, sex and crime). She personified a very plain, low-middle class woman who has just killed her lover and shares her feelings about it with the audience. In this film, her first that she co-directs with Gilles Porte, a director of several short films, she recreates her life when she traveled from cities to villages in Northern France and Southern Belgium, on both sides of the border. She plays her original role in front of real audiences that are filmed live by Porte. She talks at night from her modest hotel or motel rooms on the phone with her husband about redecoration he tries to do in their house, and with her child. At the same time she develops an intriguing and almost surreal relationship with a member of her audience, Dries (played by Wim Willaert a very good Flemish actor with a strange accent), who is a “giant carrier”, drinks a lot, and starts to follow her from town to town. They will have a brief but complicated romantic liaison. The job of “giant carrier” (porteur de géant) is unique to this part of Europe where giant folkloric and comic figures made of papier-maché and light wood are walked around during local festivals and celebrations of all kinds. Dries’s giant, name Totor, plays an important part in the story. The cinematography by Gilles Porte himself captures in a very authentic way , and visually stunning style, the particularly lively atmosphere (and cheerful behavior of its people) of this region around Armentières, Béthune, and Lille. A very heart-warming experience.

6. LES TEMOINS (THE WITNESSES) André Téchiné, (France, 2006)

This film that just got its first theatrical release in New-York City in February 2008, should be available from Netflix, and released in some theaters, pretty soon. I obtained a DVD from Europe through a friend. The 21st film of Techiné’s very interesting and consistent career, is perhaps, along with ‘’Wild Reeds’’ (Les Roseaux Sauvages, 1994), his most personal work . According to some comments he made to the press when the film was presented to the Berlin Film Festival in January 2007, he had to do this film as a reflexion on that period in the mid eighties when AIDS became a pandemic worldwide, including France, when several of his personal friends were affected by the virus and died, but he was himself spared from that curse. What he witnessed at that time left a deep mark in his perception of why some people survive and some die. In some ways you already find this subject treated at a different level in both “Wild Reeds” and the very moving “Les Egarés’’ (‘’Strayed’’, 2004). Here we have a story in 3 phases: 1. In Paris in 1984 Sarah (beautiful Emmanuelle Béart) writes children books but has a problem to adjust to her new condition of mother. Her husband, Mehdi (Sami Bouajila) a tough vice-squad policeman of Maghrebian origin has a problem understanding her lack of focus and patience with the newborn child. At the same time a very naive and charming provincial young man Manu (Johan Libéreau), arrives in Paris and decides, against her will, to live in his sister’s room, ana aspiring opera singer (a very convincing Julie Depardieu) in a cheap hotel full of prostitutes while he looks for a job. In fact he spends more time looking for brief sexual encounters in gay meeting places. That is how he meets a doctor, Adrien (Michel Blanc) a very close friend of Sarah, who falls in love with him and takes him home. 2. Manu is introduced by Adrien to Mehdi and Sarah. During a week-end in the Mediterranean villa of Sarah’s parents Mehdi saves Manu from drowning, and later engages in a very passionate relationship with him. But Manu gets sick (HIV Aids) without knowing exactly what happens to him and while continuing his sexual affair with Mehdi. Adrien, the Doctor, tries to help Manu who does not seem to care. Adrien becomes the leader of a medical research team that works on the new pandemic and tries to fight it and inform the public. He gets through rough times with Mehdi. 3. Manu dies. Mehdi finds out that he is not infected. He tells the truth to Sarah about his relationship with Manu and she decides to write a novel about it after reading his journal relating the progress of his disease. Life goes on. In spite of such a painful subject, Techiné tells his story with restraint and precision, without a trace of moral or social judgment. The film is never a tear-jerker and avoids ambiguous situations or elliptical editing. It is not a masterpiece, but it is a model of story-telling and professional directing.  

7. TOSCA Benoit Jacquot, (Italy, France, Germany, 2001)

I am usually totally allergic to filmed opera, especially the Franco Zeffirelli type. But I do not mind an intelligent cinematic adaptation of a good opera, as it was the case with Joseph Losey's "Don Giovanni", or Bergman's "Magic Flute". In the case of Tosca, Benoit Jacquot who is a very competent, sensible, and eclectic director with a 30 year-long career (La Désenchantée, La Fille Seule, l’Ecole de la Chair, A Tout de Suite, Sade, Intouchable) who openly confessed that he strongly disliked Italian Opera, has taken a very different approach: making a good film for cinephiles who do not have to be opera-lovers to appreciate this fully cinematographic reflexion on melodrama, a bit like Resnais did it in Private Fear in Public Places. But it never reaches the point of becoming too didactic or a caricature of the ultimate melodramatic opera, precisely because the cinematic qualities of the melodrama are given a more important priority than its purely operatic ones. His idea was to shoot in beautiful natural settings, located mainly in Germany, very good professional opera singers, ‘’acting’’ the opera and at the same time showing us black and white video clips of the same artists in ‘’civilian’’ clothes, recording the music in a studio, under the direction of conductor Antonio Papanno. Sometimes when the singers-actors are shot in close-ups, some too obvious post-dubbing and lip-synch problems become a bit annoying. But the quality of the cinematography by Romain Winding, the elegance of the direction and the intense acting performances of Angela Gheorghiu (as Tosca), of Roberto Alagna (as the painter Cavaradossi) in less convincing way, and above all of Ruggero Raimondi, in a scary very impressive almost Shakespearian interpretation of Scarpia, the nasty Rome’s Chief of Police who wants to exchange the life of the painter for an affair with Tosca, make us actually ‘’feel’’ their respective passions and torments. Raimondi was also a great actor in Losey’s Don Giovanni, and in the "Carmen" made by Francesco Rossi, a good Italian director.

8. BLISSFULLY YOURS Apichatpong Weerasethakul (Thailand, 2005)

I was totally mesmerized by the serene but almost mystical and hallucinated beauty of "Tropical Malady", the third film by this young Thai director, who studied cinema at the School of the Art Institute in Chicago. A large part of it was taking place in a tropical forest in Thailand, and the sound track was spectacular. It was No. 7 in my list of favorite films seen in 2005 published on this blog. This time we are again watching a very sinuous, very slow moving like in a dream, progression of three people, one man and two women, in a heavenly Thai forest. A couple, a man suffering from a terrible rash all over his body who might be an illegal Burmese worker and a woman who tries to both obtain a work permit for him and to relieve his anxiety and pain, go for a picnic by a river and some sexual interlude, in the forest. They will be joined by a second woman and engage in a strange and sometimes sad relation with her. . It is impossible to really describe a story that is so unconventionally told. But I can assure you that the lighting, the sounds, the rhythm of the camera movements in this film are incredibly beautiful. But you need to accept the ‘’ mood’’ of this movie and be patient, otherwise you may hate it, and that would be too bad.  

9. GABRIELLE Patrice Chéreau (France, 2005) For many years Patrice Chéreau

was better known in France as a stage and opera director. He is also an actor and a script-writer, But since his first feature film in 1975, ‘’Flesh and the Orchid’’ an adaptation from the famous J.H Chase’s ‘’No Orchids for Miss Blandish’’ with Charlotte Rampling, Simone Signoret, Alida Valli and Bruno Cremer, he has become a darling of both critics and spectators, for his great ability to direct actors and particularly actresses in very complex, uneasy, passionate, and generally tense and dramatic love stories. He also got very good response in the U.S, where he taught film on the East Coast for a while, for films such as the beautiful ‘’Queen Margot’’ (1994), Intimacy (2001) and "Those who love me will take the train" (1998). "Gabrielle" is only his 10th feature film (he also directed several plays and operas for Television), but to me it is one of the most brilliantly ‘’ mis en scene’’ (directed). Adapted from ‘’The Return’’, a short novel by Joseph Conrad, is very precisely describing the catastrophic tragedy of errors that occurs when a ‘’bourgeoise’’ played perfectly portrayed by Isabelle Huppert, tries to leave her wealthy but vain and pretentious upper-class husband (great actor Pascal Gregory) after 10 years of a loveless marriage. She leaves a letter for him in their luxurious mansion explaining that she is leaving him for another man (a pretentious journalist whom her husband hates), but for no reason changes her mind and comes back home to retrieve it before he reads it... but too late. Their ensuing confrontations will be terrible, even during a fancy party where they entertain high-society guests, including her lover. Like in a Bergman or Visconti film, the tensions are going up, and down while the mansion’s servants try to keep the situation under control. All this is beautifully orchestrated in sumptuous framing and camera movements, and the acting is so painfully precise that it leaves you nervously exhausted at the end that I will not reveal. Quite a job...  

10. MARIE-ANTOINETTE Sofia Coppola (USA, 2006)

Why did almost half of the American film critics (a few even booed at its premiere at the Cannes Festival) pan this very creative, beautifully shot, and very astute movie goes beyond my comprehension... As a matter of fact I did not see the film when it was released in Chicago’s theaters in 2006, in spite of my being intrigued by the trailers, because I was influenced by some bad reviews. It was a poor decision on my part. I would have enjoyed it even more if had watched those splendid shots and bold camera movements in glorious colors on a big screen and listened to the great soundtrack, with its provocative mix of baroque and pop music from a good sound system. Perhaps some critics did not like the film because Sofia Coppola dared to do something completely different than in her previous successful pictures, especially ‘’Lost in transaltion’’. But is it really so different from the point of view on modern young women she ha s been trying to give since the ‘’The Virgin Suicides’’ . As Roger Ebert rightly wrote in his 4 stars review of Oct 20, 2006: "Nobody cares if the film does not always respect the real historical facts. It is a very contemporary reflection, made by a film-maker, not an historian, about a teenager ahead of her time, who is in a state of complete refusal of the role court people and her family expect her to play, and at the same time wants as a sort of revenge against the decadence and the moral corruption that surrounds her, to find an escape in a passionate search of pleasures". Kirsten Dunst is very charming in the title role. But I enjoyed Rip Torn as Louis XV, Danny Huston as Marie-Antoinette’s brother and Asia Argento as Madame Du Barry even more. Needless to say, the scenery is stunning. The film was actually shot on location at the Versailles Palace, and in other castles of the Paris area. some scenes were even shot inside the Opera Garnier in Paris. The dialogues are often very funny, and the numerous pastries, actually baked by the famous Parisian pastry chef Ladurée , are mouth watering. Alain Maes, February 2008

Pommes Frites

Hi Dad, I've been craving pommes frites like we have when in France and have not found any that really fit the bill here in silicon valley. Ironically, some of the best "french fries" are from a well known west coast chain of fast food joints called "In and Out Burger". They slice the potatos right in from of your eyes and then throw them directly in the deep fryer. The french and california french restaurants in silicon valley don't duplicate the hot and crispy outside with soft flavorful potato innards. I find myself sending the fries back very often at such places as the "Left Bank" because they always arrive cold and have no semblance to the fries in France. In Chicago, places like Kiki's make fantastic pommes allumettes which I've not found here. So what makes a good Pommes Frite and why is it so hard to find ones that are like we have in France? And on top of that, why are they called "French Fries" here in the US? Did French Fries even originate in France. Love Your Pommes Frites deprived son

MY FAVORITES MOVIES OF 2007

Stéphane, As you know, I am not too fond of Hollywood blockbusters, but that does not mean that I do not like well-made and original American films, on the contrary. But, last year, more than ever, I badly missed my regular trips to France that used to give me opportunities to see the major French, Asian, South-America, Middle-Eastern and European films that are rarely distributed here, and that NETFLIX does not necessarily acquire rapidly after their public release in theaters. I missed several good films from China, Korea, Hong Kong, Taiwan, Thailand, France, Germany and Italy, that were shown in Europe and won awards in international festivals. They appear in most ‘’ Ten Best” lists in European film magazines, like “Les Cahiers du Cinema” that I suscribe to. I am on the waiting list at Netlix for several of them: "We own the night"(James Gray), "Still Life" (Jia Zhang Ke), "Chansons d'amour"-Love Songs (Christophe Honoré), '' Alexandra'' (Alexander Sokurov), ''Paranoid Park'' (Gus Van Sant), ''Secret Sunshine'' (Lee Chang Dong), Honor de Cavalleria (Albert Serra), '' The Man from London'' (Bela Tarr), ''Ne Touchez pas à la Hache'' (Jacques Rivette), '' La Forêt de Mogari'' ( Naomi Kawase), '' I don't want to Sleep Alone'' (Tsai Ming Liang), ''My Blueberry Nights'' ( Wong Kar Wai), '' Syndromes and a Century'' (Apichatpong Weerasethakul). 5 of them are to be released within the next two months. So, once again, it was not a great year for good foreign films in Chicago movie theaters.
The MUSIC BOX that used to have a very interesting selection of foreign films seen in important festivals such as Cannes, Berlin, Venice, or Toronto, does not show them anymore, or very rarely. The best three venues for foreign movies are the CHICAGO FILM CENTER that benefits from the very astute and knowledgeable programming from Barbara Scharres, in the Loop, FACETS on Fullerton avenue, and LANDMARK CENTURY on Clark St. Our favorite venue for films, CENTURY and FILM ARTS, in Evanston, that was always showing interesting foreign or indie films, has been acquired by a new company, CINEMARK, that is more interested in showing blockbusters. Therefore their programming policy has become totally risk-free and boring. What a pity. But, anyways, we managed to see a few good American, French, German, and Asian films, either in commercial venues or from FACETS, or I rented them from NETFLIX. Like it was the case last year, I compiled two separate lists. The first one, that I am publishing Today on the blog, consists of films I have seen in Chicago theaters. The second one is made of films, not necesarily recent, that I rented, or borrowed, and screened at home from my DVD player. That second list will be published within a couple of weeks.  
 
LIST 1: Films I have seen in Chicago theaters:  

1. CLIMATES Nuri Bilge Ceylan (Turkey, 2006) I loved Ceylan’s last film, UZAK (Distant), a very somber, claustrophobic, but beautiful and thought-provoking movie that obtained the Grand Prize at the Cannes film festival in 2003. I loved this new one, his fifth feature film, even more. It starts with a very painful end of a relationship between a professor (Ceylan himself, who in real life is also a very gifted photographer) taking pictures of ancient Roman ruins, during a very hot summer afternoon, and his wife, or mistress, (Ebru Ceylan, his own wife who is also a very beautiful and convincing actress). She observes him and silently starts to cry. One of the most powerful scene expressing solitude and despair I have ever seen in a film. After many episodes, one of them involving a very unusual and somewhat funny sex scene with another mistress, the film will end in an almost surreal winter landscape in a mountainous area in Western Anatolia, where the professor travels to visit with his former lover (or wife) who is involved in some kind of social work in a little town, perhaps with the hope to restart their extinguished passion . The cinematography, that integrates perfectly the protagonists of this story in the landscape, as Antonioni used to do so well in some of his best films, is superb. Ceylan is both the producer and the script writer of this haunting movie, that, for me, places him among the top ten most interesting directors of our time.

2. LADY CHATTERLEY Pascale Ferran (France, 2007)

To me, the real sunshine of last summer, was Lady Chatterley, a very powerful and intelligent piece of cinematic beauty that was directed in 2006 by Pascale Ferran, a very gifted film maker who, unfortunately, does not make films very often.I was very moved but a bit disturbed by her first feature film, "Petits arrangements avec la mort"(Coming to terms with death), an intimate study on grieving the death of loved ones, that revealed a real ‘’auteur de films’’. From the first 5 minutes of Lady Chatterley I felt a pure cinephilic joy. This film is so intelligently composed, framed, and directed, that you do not SEE the ‘’mise en scene’’, you are literally swept by the rhythm and the beauty of each scene, and forget about its construction. That for me is the proof of a very clever ‘’mise en scene’’. Marina Hands is stunning as Constance: Her beauty is luminous,and I am looking forward to see her again in "Le Scaphandre et le Papillon" . Jean-Louis Coulloc’h, a non-professional actor has the necessary physical presence as the gamekeeper, and his awkwardness is often very touching. Hippolyte Girardot, as Sir Clifford, is perhaps the most surprising choice of the casting. Pascale Ferran was very successful in establishing a perfect balance between the sensuality, that is never too erotically charged, of the couple and of the situations in which they evolve, and the powerful impact of the environment in which they move. Rarely a director has used natural settings, like forests, meadows, rivers, rural houses, etc. as authentically as Pascale Ferran did in this movie. Nature, beautifully shot by Julien Hirsh, and the protagonists of the story are totally and perfectly intertwined, and never appear as being two different elements of the same film. What is also incredibly strong in this film, is the respect that Pascale Ferran has for the characters and her actors. Everything is perfectly honest but restrained and the sensuality remains beautiful and exhilarating all the time, never threatened by any faux-pas or risqué move. Whatever your age, you can project yourself in these two marvelous characters without feeling embarrassed or voyeuristic. D.H Lawrence would have been proud of her.
 
3. PRIVATE FEARS IN PUBLIC PLACES (COEURS) Alain Resnais (France, 2006) 

I can’t believe that this man, one of the greatest French living directors (Hiroshima Mon Amour, On Connait La Chanson, Mon Oncle d’Amerique, La Guerre Est Finie, Providence) who is pushing 86, is preparing to shoot his 18th full length feature film in 2008. He also directed many extraordinary shorts and a very moving documentary on the Holocaust, Night And Fog in the late fifties and early sixties. Resnais's cinematographic creativity is fresher and more satisfying in its honest simplicity, but brilliant style, than the efforts of many younger, and more commercially susscessful, contemporary film makers. This time, he has the nerve to shoot a whole film,supposedly taking place in the newly built and already very “in” sections of the 13th arrondissement in Paris, entirely in a studio’s sound stage. And practically the whole time, he makes us believe that it is really snowing outside. Once again he adapts a play from the very popular British playwright Alan Aickbourne ("Smoking-No Smoking" was already an adaptation from the same author). The story is typical of this genre of very British “théatre de boulevard’’, but it is completely “Frenchified” . The characters could not be more French: A shy real-estate agent secretly in love with his colleague who is not as repressed and prude as it looks, a depressed and lonely bartender and his nasty sick and bed-ridden old father, a young woman looking desperately for a lover through classified ads, an alcoolic veteran mourning the separation from his beautiful Italian mistress. All these people, most of them played incredibly well by some of the veteran actors of Resnais ‘’ensemble” (Sabine Azema, André Dussolier, Pierre Arditi, and Lambert Wilson) and two newcomers, Isabelle Carré and the beautiful Laura Morante (who was so moving in ‘’The Son’s Room’’ of Nanni Moretti) come and go through all kinds of chance encounters and dramatic situations interspersed with very funny but always a bit melancholic episodes. The camera work of Eric Gautier is stunning. But it is the very efficient ‘’mise en scene’’, that reminds you of the charm and elegant visual style of some Hollywood romantic comedies of the forties and fifties. You cannot help but thinking about Lubitsch, Walsh, or Capra. A must.  

4. LIFE OF OTHERS Florian Henckel Von Donnersmarck (Germany, 2006).

It is difficult to believe that this very disturbing story, a fiction but so realistically told that it might be based upon real facts that happened in Berlin a few years before, and a couple years after the fall of the wall, is a first film. The 30 year-old (at the time of shooting) German director shows an incredible assurance and know-how in both writing a very well constructed script, shooting and editing with a very tight and precise technique. He avoids the usual spectacular and artificial ‘’show-off” shots so common in political thrillers, and directs very good actors with an obvious respect for their characters and personalities. Ulrich Muhe, in particular, is brilliant as a captain of the infamous Stasi, the state police of the former East-Germany, whose assignment is to do a complex surveillance job on a very popular playwright, played by Sebastian Koch who was very good in ‘’Black Book”, and his girlfriend, a famous actress,played by the beauttiful Martina Gedeck ("Mostly Martha"). He is under pressure from his boss, who himself is a minion of the Minister of Culture, a strange and ambiguous fellow who is madly in love with the actress and calculates that he could get rid of the playwright by finding something politically bad about him. All this takes place in the turbulent context of the approaching end of the communist regime in East Germany, and the acceleration of the the repression by the Stasi. Sadly enough Ulrich Muhe, a well known stage and TV actor in East-Germany who was a militant of the liberation movement from the communist regime there, died of cancer a few months after the film’s release. This little masterpiece of efficient cinema won many awards in international film festivals and ended up with winning the Oscar for Best Foreign film in Hollywood in 2007. The musical score by the French composer Gabriel Yared ("The English Patient") is a perfect accompaniment.  


5. ZODIAC David Fincher (U.S.A, 2007) 

  I had not seen Fincher’s 1995 "SE7EN", a serial killer story, that got good reviews. But I was very impressed by the innovative storytelling process, the superb, mostly digital, cinematography, and a very tight editing that keeps your attention focused, in spite of a slightly overlong 2 hours and 38 minutes running time, of this new serial killer story, an adapatation of the autobiographical and very successful book by Robert Graysmith. But the length of this movie is totally logical if we consider that this true story of the maniaco-obsessive search by newspaper cartoonist Graysmith, played very efficiently by Jake Gyllenhaal, of the famous self-nicknamed Zodiac serial killer who terrorized the San Francisco area in the Sixtes and the Seventie is taking place over an almost 20 years span. Graysmith is helped, during the first ten years or so by a colleague, a chain-smoking alcoholic crime reporter played very convincingly by Robert Downey Jr., and a policeman played by a good Mark Ruffalo, who becomes progressively skeptical about the elusive pursuit of this murderer-provocateur who sends clues to the newspaper about his crimes, and in the end was never charged for any of them. And even though Fincher takes the unusual decision to keep the same physical appearance of the major protagonist from the beginning to end of the movie in spite of the number of years that elapse between them, the atmosphere of the wole film remains extremely realistic the whole time. This film is a great study of what real police work and investigative reporting are about. And it also describes almost clinicallly the effects that such an obsessive beahavior can have on a marriage (Chloe Sevigny is very good as the wife of the cartoonist who dumps him and takes her children away when she realizes that a normal family life with him has become impossible ) and on relationships with colleagues and friends. But once again, what makes this film one of the most creative American movies of the last couple of years is his masterful directing and editing.

6. EASTERN PROMISES David Cronenberg (U.K- Canada, 2007)

This very interesting Canadian director is probably,along with Scorsese, one of the most original storytellers working in the North-American film industry over the last twenty years. Not all of his films are equally good, and some of them (Crash, Videodrome) border on a sometimes shocking taste for the horrific and the macabre. But his best movies, like "History of Violence" (2006), "Naked Lunch", "Dead Ringers", or "Spider", are very powerful material and visually stunning. The very complex script of this film, shot in beautiful dark colors by his regular director of photography Peter Suschitzky, was cleverly written by the British screenwriter Steven Knight. It tells the story of a midwife Anna (excellent Naomi Watts) in a London hospital who finds a diary, written in Russian, and a business card for a fancy London restaurant “The Trans-Siberian”, in the belongings of a drugged and severely beaten adolescent who dies in her arms while delivering a baby girl. Anna decides to track-down the family of the girl and this process, that will prove very dangerous for people aware of the existence of the diary, put her in contact with the owner of the restaurant, Semeyon, (Armin Mueller-Stahl in one of the best roles of his long career),and his neurotic and violent son Kirill, played by French actor Vincent Cassel at his scarriest. She will also meet with Nikolai, the mysterious and somewhat sexy driver, bodyguard and dead bodies “cleaner”, played in a very deadpan and seductive way by Vigo Mortensen, who already delivered a superb performance in "History of Violence". It turns out that Semeyon is the godfather of a very powerful Russian crime organization in London, who has played, we will learn later, a very nasty role in the death of the adolescent girl. We will also find out that Nikolai is a Russsian government agent working with the London police to infiltrate the Russian gang. That gang has also to battle Chechen killers from another gang seeking revenge. All kinds of violent and sometimes very touching episodes mark this film in both very dramatic and suspenseful ways. One of them involves one of the most spectacular and hair-raising battles between naked men in a Turkish bath that I have ever seen in a commercial film. For film buffs I will mention that the role of Stepan, Anna’s Russian uncle, who will translate the diary against his own judgment, is played with lots of gusto by Jerzy Skolimowski, one of my favorite Polish directors of the sixties and seventies ("Walkover", "Le Depart", "The Shout", "Rysopsis" , "Deep End", "Ferdydurke", etc). Do not miss this minor but very satisfying masterpiece of precise storytelling and directing, that forces the viewer to ask himself uneasy questions about some serious moral dilemmas the characters, especially Anna and Nikolai, have to face. Besides, the whole experience is pure cinephile’s pleasure.  

 7. I’M NOT THERE Todd Haynes (U.S.A, 2007)

This film was perhaps the nicest surprise of the year. I never expected such a risk-taking experience where the director, Todd Haynes, embarks on a very creative cinematic and musical essay trying to define some of the many contradictions found in the persona of Bob Dylan in the early stages of his career. So, instead of a traditional linear and chronologically correct itinerary illustrating the various battles and complicated relationships that the singer had to live, fight, or passively refuse, with friends, co-workers, lovers, managers, fans, or with his own internal demons, Haynes prefers to reflect in an impressionist, or sometimes expressionist, style, on the importance of some fragmented episodes of his life, as if they had been perceived by different parts of his personality. That is why these various elements of who he might have been at different stages of his life are played by half a dozen different actors or actresses. The most surprising performances are offered by Cate Blanchett as a rock star in London, Ben Wishaw as a poet, Marcus Carl Franklin as a very young black guitarist, and Heath Ledger as an actor. Both Julianne Moore and the French actress Charlotte Gainsbourg manage to create some very moving characters too. The music score is very rich and helps recreating some sense of the different periods involved. The sets also play a very significant role in establishing links with Dylan various social or cultural environments in the sixties. And of course there is a plethora of original recordings of Dylan’s own songs played and sung by himself or others. A very complex and precise cutting job, and the alternance of equally beautifully shot sequences in black and white and color, add an almost surreal atmosphere (like in very strange scenes in an old Western village with Richard Gere as Billy the kid) to this haunting film that should be seen more than once. At the end of two hours and 15 minutes of projection, you feel a bit dizzy but are ready to ask for more  


8. THE SAVAGES Tamara Jenkins (U.S.A, 2007).

Another very nice surprise. When I saw the trailers, I thought that it was sort of a comedy. But believe me, it is not. Despite some much needed very humorous sequences, this is a film that deals with a dead serious topic: How can two adult sibblings, a brother and a sister in their mid-forties, who are both confronted by serious personal problems ranging from different types of failure to achieve their goals to inability to make serious decisions about their own lives, deal with the sudden decline of their father who is suffering from Parkinson’s disease and starts to have episodes of dementia, They are called by the management of a retirement home in Arizona, where he causes some difficult situations for the other guests and staff members, and where he obviously is not welcome any longer, to take care of him. The dual problem that they have is that that father abandonned them earlier in life, is not particularly happy to see them, and that they have little choice but to find a nursing home closer to where they live on the East Coast to be able to take care of him. This experience is a very painful but self-revealing one for both of them. Both actors, Philip Seymour Hoffman, in a more sober than usual and very touching performance, and Laura Linney, who plays a very different character than in her previous films, are very convincing in their expression of pain, annoyance, frustration, and difficulty to communicate honestly with each other and with the dying father (great Philip Bosco). The very nuanced cinematography adds an authentic feeling of winter depression to the atmosphere. This movie deals in a very non-Hollywood honest way with those serious matters that are aging and its related miseries, fear of dying, solitude of non-married middle-age persons, and honesty in communicating with other family members in times of crisis. The whole treatment by Tamara Jenkins is so perfectly balanced that, at the end of the movie, you are very grateful to her for helping you to accept certain difficult situations that might affect you someday with a more healthy and humane perspective. And it is true that several really funny well-paced moments, help a lot.


9. THE COMEDY OF POWER (L’IVRESSE DU POUVOIR) 

Claude Chabrol (France, 2005) I have been following the very prolific career of Claude Chabrol (56, and soon 57, full length feature films in 50 years), who was associated with the early stages of the French New Wave in the lates Fifties, since his first film “ Le Beau Serge” . This ‘’classic’’ was shot in black and white with a limited budget in his native rural Creuse in 1958. I have to confess that after a first decade of very good films, his work was marked by ups and downs, as far as originality and quality are concerned. And frankly, I disliked several of his movies produced between the mid-seventies and the early nineties. But then, over the last 15 years, the 77 year-old veteran director, has been progressively climbing back to the top of his art. I did not see his last film, “La Fille Coupée En Deux”, but “The Comedy of Power” is probably one of the most typical examples of the ‘’Chabrol style’’, a mix of irony, ferocious observation of the hypocrisy and double standards of the French bourgeois class, and passion for strong women. Chabrol has always recognized being influenced by Alfred Hitchcock, and once again this influence is obvious in this film. Not only because of his way to depict the darkest and most evil inner secret sides of his protagonists, but also because of his very fluid and precise framing of each sequence, where shots and camera moves actually mean something and reflect the intentions of the director. Sometimes, like in Hitchcock’s films, they can be deceptive and lead you to a false perception of a situation or of the intentions of the character. His way of directing his leading actresses, in this case the always very expressive Isabelle Huppert with whom he worked in 7 other films, is also somewhat Hitchcockian. This particular story involves a very tenacious, honest but ambitious, female judge who is in charge of a case involving corruption of high-profile executives of a large French oil group that, under the cover of the state, conducted some illegal operations for their own profit. This film obviously refers to the famous Elf-Aquitaine trial, and its hero the judge Eva Joly. It will also remind you of course of the Enron affair in the U.S. Isabelle Huppert plays a role that is very different from her previous impersonations of bad, neurotic, or criminal women. But you completely believe in both her moments of strength and of weakness, when she realizes that her obsession with success in prosecuting those powerful men at the same time threatens to ruin her marital and family life. François Berléand is great as the powerful corrupt and sick executive. Eduardo Serra’s photography is as efficient as ever.

10. LETTERS FROM IVO JIMA Clint Eastwood (U.S.A, 2006)

One of the most claustrophobic and depressing films that I ever seen. But what a piece of great cinema. I consider Clint Eastwood as one of the most important American film directors of the last two decades. I think that " Unforgiven" (1992), for which Eastwood was awarded an Oscar for best director, remains one of the best American movies of the early nineties. But here, he creates a very important rupture both in terms of style and theme, with the rest of his work. He is taking an enormous risk in filming from a Japanese standpoint and in Japanese (with sub-titles) the famous 1945 Iwo Jima battle between American soldiers trying to invade this tiny inhospitable island in the middle of the Pacific, and the Japanese soldiers who have orders to defend it at any cost including their lives from their government that believe that the US might use it as a launching pad to invade Japan. In fact he makes us share the terrible intimacy of these soldiers in their very uncomfortable underground bunkers and tunnels as they wait for the American attack and progressively realize that they will all die in the name of the Emperor, but also for a stupid lack of intelligent strategy and rationale on the part of their top military brass. The ambiguity of the situation is that we cannot help but feel empathy with the general Kuribayashi, played by the great actor Ken Watanabe, who has been assigned as a commander of the island to punish him for incorrect political and pro-American sentiments, whose strategy to defend the island is not shared by his staff and some soldiers. We also feel sympathy for one of his officers, the aristocratic former olympic champion Baron Nishi, and a couple of simple soldiers like this baker, Saigo, who did not want to go the battle and writes painful letters to his wife. In fact the whole film is constructed around the letters written by these soldiers, that were unearthed 40 years later, some of them read in voice-over by the general and the simple soldier. But at no time does Eastwood let himself be trapped in moral or political judgment. His cameras, that do a superb job in black and white and sometimes color under the masterful direction of cinematographer Tom Stern ("Million Dollar Baby" and "Mystic River") capture the essence of the emotions of these men, and the rough terrain around. The battle scenes, with the help of savy computers, are hyper realistic. This film, that was shot in Iceland, at Iwo Jima and in Californian studios, is everything but hollywoodian. It demonstrates the senseless stupidity and the ambiguities of wars, where so many millions of people die without real reasons. It studies without pretensions the complexity of the moral fights and contradictions that notions like honor, pride, heroism, patriotism, duty, fear, resentment, and blind obedience, in wartime, can generate in individual as well as collective consciences. And it is a great example of cinematographic freedom.

10.(tie) NO COUNTRY FOR OLD MEN Joel and Ethan Coen, (U.S.A. 2007)

I have not always been a fan of the Coen brothers films, but out of the 12 feature films they made together I really enjoyed "Fargo", "Miller’s Crossing", and "The Big Lebowski". To me this one is their best so far. I often thought that their approach to script-writing, directing, and editing was a bit too simplistic, heavy-handed, and formulaic at times. But I have to admit that I had a lot of pleasure watching this “Neo-Western” taking place around 1980 in Western Texas. Anyway I've always been a sucker for any film including lots of small Texan towns and desertic landscapes, especially if they are treated well by one of their natives, Tommy Lee Jones who did a splendid job, both as director and actor, in "The Three Burials of Melquiades Estrada" in 2005. Here TLJ plays, with great gusto and empathy for his character, an aging sheriff about to retire, who is very depressed about the rising crime rate in that area of Texas, and tries without great energy to do his job. He will be soon facing a demoniac serial killar, who uses a cattle stun gun to execute his many (I lost count halfway throough the movie) and mostly innocent victims. This smiling but terrifying psychotic guy, sporting a very strange hairdo, played with sometimes overzealous mannerism by Javier Bardem, is tracking down a bag containing 2 million dollars that was taken by pure chance by a poor welder (Josh Brolin) who discovered it while hunting at the site of a terrible massacre resulting from a botched drug deal in the middle of the desert. The whole story, sometimes a bit complicated to follow, revolves around this guy trying to escape some Mexicans and the serial killer who tries to get the money back, his wife whom he tries to protect and send away, the sheriff who tries to arrest the killer and prevent the welder’s wife from being killed, and a bounty chaser who tries to get that same money back for his corrupt corporate big city clients. Lots of violence, lots of chases, lots of spectacular landscapes, and lots of bravura acting moments, as well as incredibly beautiful and efficient cinematography, coupled with a very smart editing job.

Runner-up:

 DANS PARIS Christophe Honoré (France, 2007) Dans Paris: Like so many films of the early sixties, it is a film about ruptures. Ruptures between generations, ruptures between life styles, ruptures between sexual tendencies, ruptures within families, ruptures between men and women. In this case two brothers are involved. Paul , the oldest beautifully played by Romain Duris is returning to Paris, in an advanced state of depression, to live in his divorced father’s apartment, after the end of a difficult love affair with a beautiful, but demanding, young woman. He spends his days in or on the bed of his younger and much livelier brother, Jonathan, played by Louis Garrel. The father, played by the great Guy Marchand (remember him in "Cousin Cousine"?) does what he can to help. The brief visit by the mother (still stunning Marie-France Pisier) called to help in a crucial scene, is a very emotional moment. The relationships between the characters are described with a lot of finesse and maturity, that sometimes remind us of Eric Rohmer’s style. All these movements inside and outside of the apartment are filmed with an evident cinematic pleasure and great elegance by Honoré. But do not count on seeing much of Paris.This is a not a film about Paris, but about characters whose lives evolve within a restricted area of Paris. And for a cinephile it is a real treat to detect all the references to all these directors of the New Wave that Honoré loves so much: Godard (who in some way could be partially identified with Paul) and Truffaut, or more specifically his ‘’projection’’, Antoine Doinel- Jean-Pierre Léaud, who sometimes can be partially identified with Jonathan. But the marvelous sequence where Paul sings on the phone a love duo with his former mistress, is a direct homage to Jacques Demy.

Other films I liked a lot this past year:  
BLADE RUNNER , THE FINAL CUT Ridley Scott (U.S.A, 1982, 2006)
LA TOURNEUSE DE PAGES (The Page Turner) Dennis Dercourt (France, 2006)
DAYS OF GLORY (INDIGENES) Rachid Bouchareb (Algeria, 2006) 
MICHAEL CLAYTON Tony Gilroy (USA, 2007)
I saw THERE WILL BE BLOOD, the glorious epic by Paul Thomas Anderson in early January 2008. Otherwise it would have been No, 4 or 5 on my ten Best List