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    Movie Review

    Springsteen inspires in lightweight but effective Blinded by the Light

    Alex Bentley
    Aug 15, 2019 | 12:33 pm
    Springsteen inspires in lightweight but effective Blinded by the Light
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    Whether coincidental or purposeful, Hollywood is in a stretch where studios are making movies designed to be carried by the music of popular singers or bands. In the last 10 months, we’ve seen biopics like Bohemian Rhapsody and Rocketman, along with films like Yesterday and now Blinded by the Light, which use music to enhance unfamiliar characters.

    Blinded by the Light is “inspired by the true story” of Javed Khan (Viveik Kalra), a Pakistani teenager growing up in the town of Luton, England, in 1987. Javed loves writing lyrics for his friend Matt (Dean-Charles Chapman) and poems, but inspiration doesn’t truly hit until a Pakistani friend, Roops (Aaron Phagura), introduces him to the music of Bruce Springsteen.

    Javed soon takes every word Springsteen sings to heart, using them in assignments to impress his English teacher (Hayley Atwell) and to win over Eliza (Nell Williams), a girl he likes. They also help him deal with hard issues like overt racism and a period of unemployment in England that hits the country hard, including his father (Kulvinder Ghir).

    Directed and co-written by Gurinder Chadha (Bend It Like Beckham), the film is a lightweight drama that mostly sticks to feel-good elements. Javed has to deal with multiple instances of discrimination and is growing increasingly disenchanted with the stifling ways of his family, but all of his troubles seem to find an answer by listening to Springsteen again.

    Chadha introduces fantasy elements in multiple scenes, blurring the line of reality just enough to make us wonder if what we’re seeing is meant to be taken at face value. Sometimes it’s obvious, as in sequences where Javed listens to Springsteen’s music while lyrics are projected on buildings and structures around him. Other times, characters start singing in a way that’s only halfway in the style of a musical, with some people participating and others just staring at the spectacle.

    Unlike the music of Queen, Elton John, and The Beatles, the music of Bruce Springsteen doesn’t quite have a sing-along nature. Only a few of songs included, like “Dancing in the Dark,” “Hungry Heart,” and “Born to Run,” have remained popular enough through the years to be familiar. But Chadha does an effective job of showing that it’s Springsteen’s deep and personal lyrics, in contrast with the poppiness of '80s singers like Debbie Gibson or Tiffany, that makes his music more meaningful and lasting.

    Save for Atwell, there’s not one familiar face in the cast, but that doesn’t stop them from making a great impression. Kalra is rightfully the star of the film, as he has an ability to adapt to a wide variety of emotions. Williams only serves as a romantic partner for Javed, but she still brings an element that sets her apart. And Phagura steals almost every scene he’s in with his unbridled enthusiasm.

    To its credit, Blinded by the Light tackles some difficult topics while showing the joy that music can bring. Bruce Springsteen may not be everyone’s cup of tea, but the movie does a great job of demonstrating the impact his music can have on those willing to listen.

    Viveik Kalra in Blinded by the Light.

    Viveik Kalra in Blinded by the Light
    Photo by Nick Wall
    Viveik Kalra in Blinded by the Light.
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    Movie Review

    Jodie Foster brings depth and wit to French thriller A Private Life

    Alex Bentley
    Jan 30, 2026 | 9:41 am
    Jodie Foster in A Private Life
    Photo by Georges Lechaptois
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    Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.

    Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.

    With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.

    Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.

    Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities - an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson - make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.

    In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.

    Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.

    A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.

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    A Private Life is now playing in select theaters.

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