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CannesFilm Festival 2011: How Hollywood invaded

It's the showcase for serious cinema—yet the festivalis also in thrall to America's most populist schlock.

Cannes has been the world's greatest film festival for64 years—and one reason it continues to flourish isits willingness to accommodate the glamour andglitz of the movie world alongside cerebral films made by serious-minded directors from all overthe world.

The organisers of Cannes understand the allure of star power: of ravishing actresses instunning frocks and handsome actors in bespoke tuxedos strolling along a red carpet to aworld premiere. Stars somehow look even more gorgeous in Cannes—maybe it's theMediterranean light—and it's mostly their images that will be photographed or beamed acrossthe world, reinforcing the festival's glamour.

This is why each year at Cannes the normal proceedings of an otherwise high-minded filmfestival suddenly come to a halt, as the promotional machines for mega-budget Hollywoodmovies hit town and briefly take it over. Crucially, these films receive "special screenings" andstay firmly out of competition for the Palme d'Or.

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At this year's festival (which starts next Wednesday), Johnny Depp and Penelope Cruz willmonopolise the public gaze as stars of Pirates of the Caribbean: On Stranger Tides, om thepresence of these global stars, while the distributors of their films use the festival as aglittering launch pad.

Still, it's notable that so many American films that have "invaded" Cannes in recent years havebeen so ropey. They arrive with a huge fanfare but often disappoint.

Last year was a good example. Ridley Scott's Robin Hood, starring Russell Crowe, was not onlywelcomed to Cannes, but opened the entire festival. It's safe to say the film was no one's finesthour. The other American invader was Wall Street: Money Never Sleeps, and, while leading manMichael Douglas swanned around town looking every inch a major movie star, this Wall Streetsequel won little affection or respect.

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But then the pattern was set a few years previously. It's often remembered that in 2007 JerrySeinfeld, promoting his animated Bee Movie, dressed up as a bee and abseiled down the frontof the Carlton Hotel in Cannes. It's harder to recall much about the movie itself.

In 2006, The Da Vinci Code opened Cannes to widespread scorn; most of the audience at thepress screening were too dispirited even to boo. As its star Tom Hanks admitted later: "hereception couldn't have been worse. "

Visiting critics'eyes had collectively rolled the previous year, when Star Wars: Revenge of theSith blew into town—thankfully the last of the series. Indeed, there's a tendency for franchisespast their artistic sell-by date to use Cannes as a springboard: it happened in 2007 withOcean's 13 and the next year with Indiana Jones and the Kingdom of the Crystal Skull. Pirates 4continues that tradition.

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Two years ago, Disney took over the Carlton Hotel to promote A Christmas Carol 3D, starringJim Carrey and Colin Firth. The hotel's imposing frontage was covered with fake snow, creatinga winter wonderland in the middle of May; part of its ground floor became a wintry grottoleading to a vast press conference hall. That year, the Palme d'Or went to Micha

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