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![]() ![]() The least effective bid for sympathy in pop history aside, there are things worth hearing on Starboy. “Boohoo, poor me, I’ve just had an amazing blow job” – that seems to be the fairly mind-boggling message here. ![]() This sort of thing reaches a nadir on Ordinary Life, where he protests about the hollow carapace of fame, wealth and celebrity, presenting as evidence of its awfulness the fact that he’s recently been fellated by a lady apparently exceptionally skilled in that particular area (“Heaven in her mouth, got a hell of a tongue”). Still, that’s a distinct improvement on the songs where he complains at length about his life of money, drugs and no-strings sex in the hope to elicit pity. This seems a bit rich, given that when he’s not sorrowfully admonishing venal women for being solely obsessed with money drugs and no-strings sex, he’s frequently to be found bragging about his life of money, drugs and no-strings sex. Future Weeknd albums hopefully might contain songs called Stop Showing Off Just Because We’ve Got Visitors and If the Wind Changes Your Face Will Stay Like That. Said venal women are invariably addressed in a tone of sorrowful admonishment: “You’re only looking for attention,” he sings at one juncture, like a testily exasperated parent. On record, both inhabit a character that long seems to have slipped into caricature: just as in the oeuvre of the former Lizzy Grant, you’re seldom more than seconds away from encountering a callous but attractive bad boy boyfriend, so on Starboy you’re seldom more than seconds away from encountering a venal woman obsessed solely with money, drugs and no-strings sex. The other big star that lurks on the album is Lana Del Rey, who crops up on Party Monster and Stargirl Interlude, and whose work Tesfaye has claimed great kinship with. There’s a real sense of invention about A Lonely Night’s warped take on 80s boogie, with its staccato bassline distorted until it sounds less funky than unsettling, or Sidewalks, which might be the best thing here, with its scattershot drums, squeals of electric guitar and a typically scene-stealing, warp-speed guest appearance from Kendrick Lamar. Starboy is audibly at its best – and certainly at its most original – when least gimlet-eyed. ![]() Such pop-house comes in varying degrees of flimsiness: at one extreme, there’s Rockin’, which offers absolutely nothing to distinguish it from all the other cookie-cutter pop-house on Radio One at the other there’s Secrets, which hardly tears up the blueprint but at least comes equipped with a fantastic chorus and a walloping sample from Tears for Fears’ Pale Shelter. Ironically, given that the exact contribution made by guest stars Daft Punk to the album’s first single and title track was a bit hard to discern (their presence is a lot easier to make out on I Feel It Coming, the album’s closing homage to Off the Wall-era Michael Jackson), chunks of Starboy seems to operate under the influence of their earlier work: pop-house big on the filtered synths and the sidechain-compressed drums found on the French duo’s debut album, Homework. Instead, there are further contributions to the global oversupply of Auto-Tune heavy ballads, some of which are genuinely interesting – the crawl-paced All I Know, furnished with a bassline that keeps unpredictably sliding out of tune the haunting lo-fi keyboard line that weaves around Reminder – and some of which aren’t.Įlsewhere, there is Max Martin-assisted pop completely divested of the creepy 5am curtains-drawn-against-the-dawn darkness that was once the Weeknd’s USP (Love to Lay). Starboy is no equivalent of Beyoncé’s venture into country or the opaque tame poem abstractions of Frank Ocean’s twin releases. There’s not really anything here to make your head turn in surprise, unless you count the fact that he choses to scream rather than sing the chorus of False Alarm. While most of 2016’s big R&B and hip-hop albums – from Lemonade to The Life of Pablo, Coloring Book to Blond – have seen his peers broaden out their musical palette, draw in new influences and take artistic risks, confident they can pull their audience along with them, the Weeknd seems to have decided this is the moment to go for the mainstream pop jugular. Still, judging by the contents of Starboy, the artist formerly known as Abél Tesfaye can’t find the fame – so all-encompassing it takes in pre-pubescent fans – that discombobulating. It is doubtless a strange sensation to realise that an audience of pre-pubescent Nickelodeon-watchers love your song about the numbing effects of cocaine. ![]() ![]()
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Kechiche is a director who pays close attention to how people live, constructing his characters through gestures, social interactions, slang, and, above all, food. ![]() At the Telluride Film Festival, Seydoux said that she’d wanted to make Blue “because he’s the best director working in France now,” and Exarchopoulos agreed. Seydoux and Exarchopoulos certainly knew this. Clearly, Kechiche is a star maker, adept at spotting and grooming new talent. Notably, both also won the César for most promising actress for their stars, Sara Forestier and Hafsia Herzi (and Yahima Torres, star of his 2010 Black Venus, was nominated for the same award). Two of his earlier films, Games of Love and Chance (2003) and The Secret of the Grain (2007), had won French cinema’s highest award, the César, for best film, best director, and best screenplay. Kechiche came to Blue with considerable success already in hand. At any rate, it’s a beautifully filmed, carefully told, exciting, sprawling, and ultimately emotionally devastating chronicle. That length may well be an intended bulwark against prurience: anyone going for salacious reasons will have to pay-with their time-for the privilege, and possibly exhaust that impulse along the way. And he expanded the format to an epic: his Blue demands viewers’ attention for a full 179 minutes of measured, deliberative observations of a young woman’s adolescence, erotic awakening, and maturation. Kechiche and his screenwriters put flesh on the bones of author Julie Maroh’s lovers. Blue’s English-language title comes from the French comic book on which its story is based, Le bleu est une couleur chaude. On-screen, Blue Is the Warmest Color actually plays as a classic European art film, heavily influenced by the new realism of a post- Amélie French cinema yet concerned with the oldest subject around: young love and coming-of-age. release, even as American audiences began to line up around the block for the chance to make up their own minds. These disclosures fractured the initial red-carpet alliance and threatened to cast a shadow over the film on the eve of its U.S. Meanwhile, complaints by the actresses and some crew members over directorial demands during production began to surface as well. Critiques of the film slammed the authenticity of the lesbian sex, as assessed by some important critics and lesbian commentators, including the author of its source, a graphic novel. 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