Catherine Frot takes us into the world of roses in La Fine fleur, directed by Pierre Pinaud. Meeting with the actress, the main role of this horticultural comedy.
In La Fine fleur, directed by Pierre Pinaud, Catherine Frot plays Eve Vernet. The latter was the greatest designer of roses. Today, it is on the verge of bankruptcy, on the verge of being acquired by a powerful competitor.
Véra, her faithful secretary, believes she can find a solution by hiring three employees in integration without any horticultural skills … While almost everything separates them, they embark together on a most unique adventure to save the small farm.
DashFUN: Can you introduce your character and tell us what appealed to you about his personality?
Catherine Frot: I play the role of a designer of roses called Ève Vernet. Strong temperament, a certain panache, quite a bad mood because his exploitation of artisanal and family roses, is in decline.
It is societal, in the sense that it is the big ones who eat the little ones and that when you are a craftsman, it is more difficult in certain areas to exist than large commercial companies. But there are marvelous qualities in craftsmanship which are those of extremely diligent work which takes its time.
And so, what I liked was this very generous and very hopeful value. The power of wonderful work. And it is also something about beauty since we are in the roses and it is a subject. It is a film about the beauty of roses and the beauty of human relationships; because there is a path of human relations in this film which seemed really wonderful and rare to me. But it is a bucolic film, rather whimsical, but very deep on the human being.
What appealed to me was this very generous and very hopeful value. The power of wonderful work.
Precisely, compared to the human being, there is a beautiful relationship with the three characters that you take under your wing. How to create a bond with actors that one does not necessarily know?
It was done of course with Pierre Pinaud, the director, who is someone of end. He will look for perceptions that we do not necessarily expect. We worked well with this group. In fact, there is a choral side to the film, even though I am the creator of Rose, the boss.
I deal with these characters who are excluded from society when it was a past glory. She is a woman who has found her place even though she is in difficulty. But there, we find ourselves facing three excluded from society, with broken arms, almost nickel-plated feet in this horticultural field, the culture and the search for the perfection of roses.
There is a metaphor between the search for perfection in a profession, in nature and the search for the perfection of the relationships that one can create and which are not necessarily what one expects. Obviously, at the beginning of the film, this Eve Vernet completely despises the three glandus that are coming. And they too look at her, saying to themselves “What’s going to happen in there? We’re looking for a permanent contract.” It is very authentic. We worked well.
It is a bucolic film, rather whimsical, but very deep on the human being.
Eve Vernet has a look of her own with scarves, her little pipe. How did you work on this aspect?
I wanted the lavallière. There are a few lavallières in the film, corsages with a sort of feminine tie that fastens with a jewel. I like to simmer my big puppet which is myself to make something with accessorization, costumes.
It needed a look, it needed a quickdraw. And there you have it, that’s what I looked for. So, for a moment, there is a little pipe, indeed, a masculinization of the character, a hat. She works in the earth. She’s in the air all day. There was a figure to offer that I liked to do.
He is a character who, at first glance, is precisely very rigid, but who also has his flaws. It also arouses a lot of emotions.
There is a part of great emotion in the film because it is linked to the loneliness of certain characters, especially in front of this young actor, Melan Omerta, who is wonderful in the film. They are all wonderful.
Frankly, there is something choral about the film that was very important. Well. Yes, there are emotions, obviously. There is one who no longer has parents and there is one who has never had children. So, there are possible encounters which are the source of great things.
One of the highlights of the film is the sequence of …