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Nov 05, 2007
"L'équipier" : welcome to Brittany. (4/5)
No man is an island, but Ouessant is. It nevertheless shares the same fate as many regions in continental France and elsewhere, where economic activity has declined to the point of becoming an endangered species.
Whole areas are left no choice but transform themselves into playgrounds for city dwellers, who, for a weekend, their holidays or their whole post-retirement life, pretend to be farmers, fishermen or craftsmen : the democratic day version of Marie-Antoinette’s hamlet in Versailles.
The packaging of their ready-made sets, preserved natural scenery requiring only minimal digital tampering with an increasing range of financial incentives also attracts another brand of visitors : filmmakers.
As countries and regions world-wide now compete for the economic windfall of movie shoots, « L’équipier » was co-financed by Conseil régional de Bretagne and Conseil général du Finistère, probably with the additional hope that the completed film would in turn convince its viewers to fall in love with Ouessant, like Antoine with Mabé, and rush to visit the island.
Was it a reasonable hope or wishful thinking and a waste of public money ?
« L’équipier » drew more than 600,000 spectators to French cinemas, a most respectable performance for such a misfire, and probably a few more abroad, not to mention the film video and television audiences.
How many of them were persuaded by the film to visit Brittany, and particularly Ouessant ? How many others were convinced too, but never to set foot in the region ?
Let us evaluate if the island assets were adequately promoted on screen :
.the means of access are deservedly highlighted. The opening shot of a French high speed train darting through the countryside informs us that the heart of Brittany and even Brest are now only a short ride away from downtown Paris. The closing sequence similarly enlightens us, as we discover the beautiful brand new white ferry, that will take us to the island and back. In fact, this may well be the sole point of these two contemporary sequences : to demonstrate how easy of access Ouessant has become, compared to 1963.
.the local scenery sure looks great, but we do not see that much of it : one more potential asset which the film failed to build upon or a few distasteful low-rent buildings and supermarkets to hide ?
.the weather certainly appears windy and a bit humid at times, but, as several characters tirelessly point out, possibly at the tourist office insistence, changes very quickly in the islands -generally for the better, compared to the continent- : a storm for breakfast, blue skies for lunch, lobster for dinner.
.the real estate market still seems to offer charming, attractively priced, traditional stone houses, provided you do not mind Parisian neighbours.
All in all, Ouessant looks nearly as good as the film is bad : an easily accessible but still exclusive resort -the boat ride keeps the plebeian masses at bay- that combines the charm, tranquillity and unpolluted air of 1963 with 3rd millennium amenities.
Too bad there are still natives around.
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