Showing posts with label french cinema. Show all posts
Showing posts with label french cinema. Show all posts

Tuesday, March 19, 2013

Shoot the Piano Player (1962) Review

Shoot the Piano Player (1962)
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Truffaut said he realised, when filming 'Shoot the Pianist', a gangster film, that he hated gangster films. He shows his contempt most by consistently emphasising human truth over generic convention, but finally allowing generic convention to win brutally through. For Truffaut, genre is incompatible with humanity and its messiness.
Like many of my favourite films (and it is my favourite), 'Shoot' is a reworking of 'Vertigo', the story of a man who lets two women die because of his own emotional cowardice, leaving him in emotional shellshock. Aznavour's performance - and this isn't sufficiently realised - is one of the towering achievements of cinema, a complete, physical embodiment of diffidence, guilt, solitude and emotional paralysis, a man more lethal in his dithering passivity than murderous gangsters are in their violence.
Like all the best art, 'Shoot' is a tragicomedy, moving bewilderingly between the two moods, creating a devastating emotional texture - the hilarious scene where Charlie debates the best way to hold Lena only to tragically realise she's gone, or the frightening abduction scene that sees captor and juvenile captive argue comically over scarves.
As the title suggests, music is this film's soul, the only thing that can transcend genre for Charlie, the only way an emotionally dead man can feel.
Truffaut's restlessly inventive mise-en-scene, switching between studied artifice and breathless open air filming, is full of Hitchcock, Godard, Ophuls, Ray, Renoir - all the best of cinema; but in truth, there is no other film like it.

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Thursday, March 7, 2013

Pierrot le Fou (The Criterion Collection) (1965) Review

Pierrot le Fou  (The Criterion Collection) (1965)
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My exposure to Godard films were through VHS tapes. I was too young to watch his 60's films in their original formats. The transfer is not too great but good enough. The colors are right, it is thankfully letterboxed, etc. even if there are a few image distortions, artifacts and the sharpness and overall quality leaves a lot of room for improvement. There is something very wrong, however, with the sound especially towards the fifth chapter (that's the 5th access in the chapter search of which there are only 6 - thanks to Fox/Lorber!) Thankfully, this is a subtitled film (can't be switched off/on, they're pasted on the screen) otherwise, even the French won't understand the French dialogue. The noise distortion is terrible, but could it be Godard's deliberate way to convey sound since it is the part in which the CB radios or walkie-talkies were being used in the scene? My impression is that the technician in charge was probably asleep or didn't care when this noise distortion was taking place and the DVD didn't go through quality control which could have fixed it. I haven't seen the original so I don't know but since this is a Godard film, anything goes. But then the distortion continued even after that scene so any reasoning to defend Fox's negligience on this matter proved futile. I found it terribly distracting and I thought it pulled down the quality all the more of this already mediocre DVD transfer. Is this the best version yet? How does the VHS version rate? Fox/Lorber is hit and miss with DVDs. They did good with Seven Beauties, Last Year at Marienbad, and the already LD Criterion-restored Umbrellas of Cherbourg and 400 Blows but did very poorly with A Woman is a Woman, several Truffaut films and even the relatively recent Padre Padrone. What a shame that a company like Fox/Lorber gets the rights to release these great Foreign films but doesn't have the interest to come up with quality transfers. I think this is a waste of our hard-earned money to buy the DVDs that they produce. Next time you buy from Fox/Lorber, read the reviews... otherwise just rent or wait for a better re-release in the future.

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Dissatisfied in marriage and life, Ferdinand (Jean-Paul Belmondo) takes to the road with the babysitter, his ex-lover Marianne Renoir (Anna Karina), and leaves the bourgeoisie behind. Yet this is no normal road trip: genius auteur Jean-Luc Godard s tenth feature in six years is a stylish mash-up of consumerist satire, politics, and comic-book aesthetics, as well as a violent, zigzag tale of, as Godard called them, the last romantic couple. With blissful color imagery by cinematographer Raoul Coutard and Belmondo and Karina at their most animated, Pierrot le fou is one of the high points of the French new wave, and one last frolic before Godard moved ever further into radical cinemaSpecial Features * - SPECIAL EDITION DOUBLE-DISC SET FEATURES: * - New, restored high-definition digital transfer, approved by cinematographer Raoul Coutard * - New video interview with actor Anna Karina * - A "Pierrot" Primer, a new video program with audio commentary by filmmaker Jean-Pierre Gorin * - Godard, l'amour, la poésie, a fifty-minute French documentary about director Jean-Luc Godard and his work and marriage with Karina * - Archival interview excerpts with Godard, Karina, and actor Jean-Paul Belmondo * - Theatrical trailer * - New and improved English subtitle translation * - PLUS: A booklet featuring a new essay by critic Richard Brody, a 1969 review by Andrew Sarris, and a 1965 interview with Godard

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Sunday, February 10, 2013

A Man and a Woman (1966) Review

A Man and a Woman (1966)
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And this ain't it. But it's all we got for now, so heh.
"Un Homme et une Femme" holds up quite well some 32 years hence. Younger viewers may not realize that a lot of the montage devices and tricks that may seem 'dated' were actually popularized and/or invented herein by Claude Lelouch. I actually found myself rewinding to watch the color sections a couple of times, especially the mid-film sequence scored to Francis Lai's achingly sentimental and lovely "Stronger than Us" as Anouk Aimee (the world's most beautiful woman) and Jean-Louis Triginant stroll the Deauville shore and muse on art and life. The tinting and grain of those sections - the boat ride, Anouk remembering her dead husband (Pierre Barouh) as he sings "Samba Saravah" to her - set a trend I pine for again.
The story? Well, thin, even by today's lughead standards (widower and widow fall in love against some lovely French scenery shot in winter), but it's obvious Lelouch was going for something that was quite new, then: a marriage of film and music that was not a "musical" per se, but rather, the forerunner of MTV (well, MTV with a soul, let's say). Cut loosely but thankfully not on-the-beat to Lai's jazzy/lush mid-60s score, Lelouch suceeds darn well. The freeze-frame ending cued to the final electric piano note, and that moment when Anouk Aimee pauses for the longest time and says to Jean-Louis, "You never told me about your wife", are two of my favorite filmgoing moments.
"Un Homme et une Femme" is emblematic of a world-view which I, for one, wish would take hold of folks again and topple the psychotic-trash-nihilistic consciousness now dominating pop culture. It was thoughtful, romantic, inward and outward at once, loving of sentiment but not wallowing in sentimentality, sophisticated, in love with love and with being alive in the world... not afraid of seeming tender. If any of this strikes you as square or passe or naive, then, this ain't your movie.
Let's hope the DVD gets released in French. Daria could use some alternative programming to 'Sick,Sad World', as could some of the rest of us.

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From director CLAUDE LELOUCH (And Now...Ladies and Gentlemen) comes this 1966 classic, a tender, visually exciting film of revitalizing love: a race-car driver (JEAN-LOUIS TRINIGNANT) and a movie script girl (ANOUK AIMEE) share a romance filled with humor and truth, intertwined with the demands of career and parenthood. Winner of OscarsO for Best Foreign Language Film and Best Original Screenplay.

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Saturday, January 26, 2013

Elevator to the Gallows - (The Criterion Collection) (1957) Review

Elevator to the Gallows - (The Criterion Collection) (1957)
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Released originally in 1957, newly restored this year, Louis Malle's ("Pretty Baby") gorgeous "Elevator to the Gallows" ("Ascenseur pour l'Echafaud") is ultimately more flash than substance: many scenes were filmed with natural light (shades of Dogma95?) and Jeanne Moreau's penultimate scene walking down the Champs Elysees light only from the glare of the shop windows that she passes is stunning in its simple, shadowy beauty. Paris, in many ways has never looked more beautiful or more sinister.
The plot revolves around two couples: Florence Carala (Moreau), her paramour Julien (Maurice Ronet) and two juvenile delinquents, Veronique (Yori Bertin) and Louis (Georges Poujouly)...who steal Julien's car. The quartet meet only at the conclusion of the film though their actions definitely affect each other earlier.
There is also intrigue involving Julien and Florence's husband Simon Carala (Jean Wall) and their participation in war profiteering in the Indochina War (it is 1957, after all). But the plot takes a back seat to the mise en scene as Malle's camera and the mood take precedence over plot development and plot logic.
"Elevator to the Gallows" (a very witty title, by-the-way) is at times breathtakingly beautiful to behold: Decae's moody camerawork and Miles Davis' score and trumpet work are brilliant. And as a precursor to the emotional depth, flash and profundity of what was soon to arrive, "Elevator to the Gallows" is an important piece of the wonderful puzzle that was to become the French New Wave a few years hence.

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In this, his debut feature film, director Louis Malle captures the hidden beauty of Jeanne Moreau, the brilliant camerawork of Henri Decaë, and the musical force of Miles Davis in a tightly constructed film noir experience that launched his and Moreau’s careers.

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Wednesday, January 9, 2013

Day for Night (1973) Review

Day for Night (1973)
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For years i have been not watching this film -- one of my very favourites -- because it was only available on VHS in an abysmally-dubbed version.
Well, now it's on DVD with the original French track and subtitles in English, and it's just as great as i've been remembering it from the last chance i had to see it theatrically.
The video transfer looks excellent, the sound is good, and the film is the film.
And there are goodies galore on the DVD as well; i haven't finished all of them yet.
If you haven't seen this film, now is the time to do so.
((The dubbed track is included for people who simply can't deal with subtitles.))

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The leading lady is recovering from a nervous breakdown, another performer is soused on the set, unions threaten to walk, shooting must finish before the insurance lapses and a cat can't hit its mark. Is this any way to make a film? FRANCOIS TRUFFAUT's sly, humorous OscarO-winning Best Foreign Language Film (1973) that speaks the language of everyone who loves movies. JACQUELINE BISSET, JEAN-PIERRE AUMONT, VALENTINA CORTESE, NATHALIE BAYE and Truffaut star.

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Tuesday, December 18, 2012

Le Samourai - Criterion Collection (1967) Review

Le Samourai - Criterion Collection (1967)
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There are very few movies in the history of the cinema that are as perfect as Jean-Pierre Melville's "Le Samourai". "Le Samourai" is without question my favorite movie of all-time, and one of the best ever made. It's a movie that isn't widely seen, and is never shown on TV, however, it has had a tremendous influence and inspiration for many filmmakers ever since. "Le Samourai" itself was inspired by the film noirs of the 40s and 50s, especially "This Gun for Hire"(1942) which includes a performance by Alan Ladd as a similar loner hired killer character as Alain Delon's (Jef Costello). I love this movie for too many reasons to mention. First of all, the direction by Melville, the beautifully dark cinematography by Henri Decae, the writing, the editing, etc. Also, the performances are all great especially Alain Delon, who gives the performance of a lifetime, it's absolutely one of the greatest performances ever captured on film. There are too many beautiful moments in the movie to mention, and I won't mention them as to not ruin it for anyone who hasn't seen the movie. One moment in particular is stunning when Delon, who plays a hired killer (Jef Costello), nurses a gun-shot wound to his arm, there's not a false moment in the entire movie. Another is after he steals a car as he drives he stops for a moment as another car with a woman in it stops next to his car and they both turn briefly to look at each other, it's done with a subtle, flawless, breathtaking beauty rarely captured on film. I own a VHS copy of "Le Samourai" which I have almost completely worn out, so I hope that Criterion or some merciful DVD company out there produces a quality DVD of this important masterpiece as soon as possible. I would like to think that amongst the "Gladiators", "Independence Day" and "American Pie" DVDs, they could include a quality DVD of "Le Samourai" for the sake of humble DVD consumers who love great movies. In all, I have to say that I need to watch this movie repeated times so I can enjoy it and be inspired, as well as to remind myself that movies can be important and meaningful. When I see all of the garbage that is shoved out onto movie screens nowadays, it's downright depressing and sometimes demoralizing, so it's nice to be able to put on "Le Samourai", or another great movie of the past, and remember what movies could be and should be!

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In a career-defining performance, Alain Delon plays blue-eyed Jef Costello, a fedora- and trench-coat-wearing contract killer with samurai instincts

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Sunday, October 14, 2012

Alphaville - Criterion Collection (1965) Review

Alphaville - Criterion Collection (1965)
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Like the reviewer above, I was puzzled as to why Criterion would release this film in full frame format when everything else about the edition seemed so meticulously struck, so I thought other people might be interested in Criterion's explanation as to ask why this DVD copy was in the full frame format.
Even though Criterion released the so called widescreen edition previously (1.66:1 letterboxed), each time they re-strike a new product, they will continually consider how the specific movie is supposed to be seen. What I was told was that even though most Europeans probably saw the 1.66:1 widescreen version in the theaters when it was released, it was their belief through a lot of research and interviews, that Godard framed, and meant for the film to be in 1.33:1 - and it was the releasing company that decided on the 1.66:1 format themselves. They told me at Criterion, that neither is necessarily wrong, but that they decided to go with what they believed most suited the vision of it's maker.
I bought the DVD after hearing their explanation, and you will most likely agree with them when you view this version. From the balance of titles and words on the screen, to the way that shots are constructed (such as a sequence which is obviously intentionally composed of only gesturing hands on the edge of the frame during a conversation) I think their argument is right on the mark. Remember in this season of widescreen fever, it shouldn't be widescreen for the sake of widescreen, but to present the thing the way it was intended to be seen.

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A cockeyed fusion of science fiction, pulp characters, and surrealist poetry, Godard's irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution, on a mission to kill the inventor of fascist computer Alpha 60. Criterion's edition of this seminal film features a new digital transfer.

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Tuesday, August 14, 2012

District B13 (2004) Review

District B13 (2004)
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Set in the year of 2010, `Dictrict B13' features two no-nonsense fighters Damian and Leito in the titular crime-infested area near the city of Paris. They fight the drug-addicted kingpin and his thugs before finally saving the world too. The story of French action film `District B13' (written by Luc Besson) needs lots of suspense of disbelief even though in reality we recently witnessed the outbreak of riots in this country. Still the actions of are all first-rate, and the two leads of the film Cyril Raffaelli and David Belle are more impressive than any other famous names from the Hollywood products.
Part buddy-buddy movie features crime-fighting Damian (stunt-turned actor Cyril Raffaelli, `Kiss of the Dragon') and ex-thug Leito (David Belle), both of whom have to join forces to accomplish the missions of their own. Not much is original, I admit, as far as the script by Luc Besson and Bibi Naceri (the latter also appears as the mobster) is concerned, but we are not watching this film for the story, and you should know it.
[EYE-POPPING STUNTS] The film will grab your attention from the opening section, where Leito runs away from the thugs sent from the gangster. For incredibly agile David Belle, jumping on the rooftops from one building to the other (like Jackie Chan in `Rumbles in Bronx') is not enough. Before doing these breath-taking stunts, he actually climbs down on the wall of the building, jumping from a balcony to the one below. And that's only the beginning of the eye-popping action sequences, in which like Buster Keaton he keeps running inside and outside of the buildings, and his rhythmical movements are often so beautiful that you might forget that he is really doing a death-defying actions.
[NO WIRE, NO CGI] Cyril Raffaelli is also great, showing the martial arts skills only the real stunt persons can reveal. You just have to see their stunts that are done by the actors themselves without using any wire and special effects (that's why it was shot in Romania, where the regulations are less strict). Their stunts remind the film fans of one Thai movie `Ong-Bak,' but the stunts in this French actioner are done in a different style with more vertical movements and less bone-crunching fighting. And they are both fantastic.
This is a non-stop French action hugely entertaining with incredible actions. You may not like the preposterous story, but once these actions start, you just cannot blink a second.

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DISTRICT B13 - DVD Movie

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Friday, April 6, 2012

Elegy (2008) Review

Elegy (2008)
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When I saw this movie - which in itself was not an easy task because it was relegated to obscure theaters at inconvenient times - only six other people were present. Clearly this movie was not made with popular appeal in mind. No guns, no CGI, no well-cued schtick and obvious dialog. Just stunningly acute direction and acting that takes the breath away.
I have never seen a film containing so much pain yet so beautifully delivered. Kingsley and Cruz turn in exquisite performances, though of course Kingsley dominates as the eternally commitment-shy academic David. It is a testimony to Kingsley's power as an actor that he enables us first to feel sympathy with David's desire to seduce his student, and then sympathy with his moral and emotional equivocation, and finally sympathy with the utter devastation that comes from the loss of his beloved.
Aside from the scenes in which David interacts with his estranged son - scenes that really could have been deleted without harming the film in any way - there is never a spare moment. This is a movie about isolation, loneliness and desire - the desire for contact, connection, and ultimately for hope. It is spare, terse, and under-stated. Unfortunately we do not live in a time when these virtues are appreciated, and many professional reviews have been very wide of the mark with their myopic criticisms.
The direction of the movie is light and assured, a million miles from the heavy-handed journey-work of most directors. Nothing is over-emphasized. Kingsley turns in what must be one of the top two or three performances of his career. The movie assumes an intelligent audience - perhaps the reason why so few people have actually seen it, and why fewer still have appreciated its richness. But for anyone who enjoys film-making at its very best, this is a must-have for the DVD or BlueRay collection.

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Respected cultural critic and author David Kepesh (Ben Kingsley) is a middle-aged college professor who, for years, has lived in a state of "emancipated manhood." His romantic conquests are many; his lasting commitments, few. But when a stunning young student named Consuela Castillo (Penelope Cruz) enters his life, her otherworldly beauty captivates him to the point of obsession. Soon, their erotic relationship evolves into an undying and passionate love in this gripping drama that explores the power of love to blind, reveal and transform.

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Thursday, March 1, 2012

A Prophet (2009) Review

A Prophet (2009)
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Malik El Djebena enters prison a blank slate of nineteen. Immediately you realize his youth, his vulnerability in a savage, organized world that only sees him as fresh bait. He becomes the means to a murderous end for fellow inmate the Corsican mob and thus begins his descent into its servitude. Ironically, it is his position as their dirty Arab that provides his escape.
Propelled by stellar, stoic acting on Tahar Rahim's behalf, this story gripped me from blinded beginning to free end. Throughout the film you empathize with Malik. He's as much if not more a victim of his environment as he is a Machiavellian strategist gripping all opportunities available to him. It's not always pleasant to watch his endeavors, but they have an authenticity, a type of logic, that is followed until the end.
An amazing film that has made a fan where previously only an aversion to its subject matter existed, Un Prophéte deserves all the praise it gets.

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A young arab man is sent to a french prison where he becomes a mafia kingpin.Studio: Sony Pictures Home EntRelease Date: 08/03/2010Run time: 155 minutesRating: RDirector: Jacques Audiard

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Monday, December 19, 2011

Micmacs (2009) Review

Micmacs (2009)
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Amelie and The City of Lost Children belong to those films that, although, you find strange when you sit through it for the very first time, they stay with you forever. I find the director (Jean-Pierre Jeunet) to be Europe's answer to David Lynch - only a tad heavier on the regressive images and lighter on the subconscious horrors. So when he had another film out, I was not going to miss it. And, once more, I was glad I did.
A bunch of eccentrics (each with his or hers own quirky character and unusual personal history) come together by life's caprice and end up undertaking an impossible task: try to take down the two largest arms manufacturers in the country. Ingenious ideas, impossible retro gadgets (handmade from salvaged materials), and an unwavering sense of justice. No sacrifice is too big if it means making the villains pay for their crimes.
The colors are soft and comforting; the imagery is mesmerizing; the music will take you back to a more naive age; and the story will make you laugh, cry and laugh again. All in all, great entertainment!
HIGHLY RECOMMENDED!

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First it was a mine that exploded in the middle of the Moroccan desert. Years later, it was a stray bullet that lodged in his brain... Bazil doesn't have much luck with weapons. The first made him an orphan, the second holds him on the brink of sudden, instant death. Released from the hospital after his accident, Bazil is homeless. Luckily, our inspired and gentle-natured dreamer is quickly taken in by a motley crew of junkyard dealers living in a veritable Ali Baba's cave. The group's talents and aspirations are as surprising as they are diverse: Remington, Calculator, Buster, Slammer, Elastic Girl, Tiny Pete, and Mama Chow. Then one day, walking by two huge buildings, Bazil recognizes the logos of the weapons manufacturers that caused all of his misfortune. He sets out to take revenge, with the help of his faithful gang of wacky friends. Underdogs battling heartless industrial giants, our gang relive the battle of David and Goliath, with all the imagination and fantasy of Buster Keaton...

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Thursday, October 13, 2011

The Red Balloon (The Criterion Collection) (1956) Review

The Red Balloon  (The Criterion Collection) (1956)
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I can't remember the first time I saw this wonderful film, but I know that I will watch it many times more. I think it is one of the most moving, evocative stories about childhood that I know. It is, in my opinion, an authentic vision of childhood retreat into an inner world that is free of mean parents, bullies, and scornful teachers. The last scene is a great symbol for the escape from the loneliness and pain of growing up that many children experience. I believe that adults as well can surely empathize with the little boy in the story as he tries to make his way in the world that seems so cruel. This film is a real classic.

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Newly restored and available for the first time on DVD, Albert Lamorisse s exquisite The Red Balloon remains one of the most beloved children s films of all time. In this deceptively simple, nearly wordless tale, a young boy discovers a stray balloon, which seems to have a mind of its own, on the streets of Paris. The two become inseparable, yet the world s harsh realities finally interfere. With its glorious palette and allegorical purity, the Academy Award winning The Red Balloon has enchanted movie lovers, young and old, for generations.

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Saturday, August 27, 2011

La Vie en Rose (Extended Version) (2007) Review

La Vie en Rose (Extended Version) (2007)
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Don't plan to see this film and then go out for a lively night on the town. You will be so spent after the one hundred forty-one minutes of this gut-wrenching film that when the lights come on at the end, you'll need a minute to figure out where you are, and then additional downtime to process all you've seen. Days later, you'll still be thinking about this slice of life--and Edith Piaf.
Piaf's story is well known to her long-time fans--brought up in a brothel, wrested from the only life she knew by her father so they could join the circus, her teen years on the streets, her "rescue" by a crime figure who gave her the start to her career, and, ultimately, her international success and final illness. She was always frail, sickly, malnourished, and wildly temperamental. She was often on drugs or alcohol, and she was always in search of true love (not finding it till late in her life). All this is depicted here with its horrors and its rare moments of tenderness, the cinematography (Tetsuo Nagata) so brilliant that the realistic, dark settings invite the reader's emotional entry into them and exploration of them.
Marion Cotillard becomes Piaf, a physical likeness that is uncanny in its realism (one wonders if she can ever play another part without conjuring up Piaf's image), and her emotional connection to Piaf's music is total. Her song performances are absolutely flawless, as are her gestures, and the only clue that she is lip-synching is the unmistakable Piaf voice the emerges from her mouth. Louis Leplee (Gerard Depardieu) as the nightclub owner whose murder by organized crime draws Edith in for questioning, shows the genuine care he has for Edith and the tough face of a man who has seen and done it all.
Marcel Cerdan, the middleweight boxer who captures her heart (Jean-Pierre Martins), gives her something to live for, besides her music--at least for a while--and it is genuinely affecting here to see how earthy and unaffected he is in her presence. The supporting actors, all French, are outstanding, and few viewers will forget Emmanuelle Seigner, playing prostitute Titine, who cared for Edith as a child.
The film belongs to Cotillard, however, and all aspects of the film, from the brilliant writing of Olivier Dahan (who also directed) and Isabelle Sobelman, to film editing (especially the lip-synching to Piaf's songs), and the sets, costuming, and makeup, are designed to enhance her performance. The film follows no chronology, jumping from her childhood to her old age and then to some of the high points of her career, creating an impressionistic film of some of the signal moments in her life. It is difficult to imagine any biopic that will ever come close to this one in its power, but then, again, it's difficult to imagine any singer who will ever capture the world's imagination in quite the way that Piaf did. n Mary Whipple

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Picturehouse and HBO Films present a critically-acclaimed biopic about the legendary international singing icon Edith Piaf, whose voice and talent captivated the world. Starring award-winner Marion Cotillard (A Very Long Engagement, A Good Year) in an astonishing performance, the film is a portrait of a remarkable artist born into poverty who survived using the only gift she had â€" her voice. Piaf’s tragic life was a constant battle to sing and survive, to live and love, with no regrets.

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Tuesday, August 2, 2011

The Triplets of Belleville Review

The Triplets of Belleville
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"Triplets of Beleville" is absolutely a treasure from the French director Sylvain Chomet. The details, story, humor, character development, the relationship between the characters, and the pure delight rivals that of the great Japanese master Hayao Miyazaki's works. It is absolutely a pleasure watching this almost speechless story unfold all the way to the final scene. Most of the dialogue, if any, is in French, but no subtitles. And that is intentional: you don't need it. Now that takes some good story-telling to achieve. And this film achieves in leaps and bounds. Chomet clearly has a different philosophy than the American animations going into his art. Don't get me wrong, I don't mean that Disney or Pixar works are not good, "Triplets" is just one of the most outstanding and different in story telling and the use of the medium that I have ever seen for a long time in an animated work. They say the devil is in the details. Well, then this is what makes this movie. I almost drowned in the images on the screen. The heart-felt story and just the way the story was eccentrically told stayed with me for a long long time after i left the theatre. Not since a Studio Ghibli (Miyazaki-Takahata) masterpiece have made me feel this way. Just for the details alone I could watch this over and over again. Therefore I can't wait to buy the DVD so I can make this story mine. I recommend this to all Miyazaki fans to check it out. You won't be disappointed. Enjoy. You will.

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Sunday, June 12, 2011

Tell No One Review

Tell No One
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TELL NO ONE (Ne le dis à personne) succeeds on every level for this viewer. Based on Harlan Coben's novel and adapted for the screen and directed by Guillaume Canet, this is one of those intricately complex French films that is much in the same mode as the 1955 film LES DIABOLIQUES. Nothing is as it appears at first and even when the mystery is explained in what appears to be a systematic, cohesive manner, the 'real story' remains a conundrum. It is a brilliant little film well worth multiple viewings to fully appreciate all of the aspects of the fine acting, cinematography, direction and musical scoring.
In a misty opening we discover Alexandre Beck (François Cluzet) and his beautiful wife Margot (Marie-Josée Croze) only to abruptly be drawn into the murder of Margot and the beating of Alexandre. The incidents are shrouded in mystery and remain so for eight years when suddenly the now pediatrician Alexandre receives an email from the 'deceased' Margot. Alexandre's world is topsy turvy and he begins to share the strange incident with his family - his sister Anne (Marina Hines) and her lover Hélène (a radiant Kristin Scott Thomas), his father, Margot's family...and the police who begin to discover evidence that implicates Alexandre as the perpetrator. Alexandre's lawyer (Nathalie Baye) pits evidence against the police investigators while Alexandre's chief ally in his run from the accusers is Bruno (Gilles Lellouche), the father of a hemophiliac patient whom Alexandre has treated and befriended. The chase is on and the clues become increasingly puzzling until at last the truth of the now eight year old murder and all of the implications of that event unfold.
If there are seemingly holes in the story it is because we, the audience, are never quite sure about the twists and turns of the plot. The acting is superb from this cast of some of France's finest artists, and one of the best performances in the film comes from British actress Kristin Scott Thomas, reminding us that she is one of the most talented and beautiful actors on the screen today! This is a tough little film to follow, but the quality of both the story and the production is first rate. Highly Recommended. Grady Harp, October 08

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Based on Harlan Coben s International best selling novel, Tell No One tells the story of pediatrician Alexandre Beck who still grieves the murder of his beloved wife, Margot, eight years earlier. When two bodies are uncovered near where Margot's body was found, the police reopen the case and Alex becomes a suspect again. The mystery deepens when Alex receives an anonymous e-mail with a link to a video clip that seems to suggest Margot is somehow still alive and a message to Tell No One .One of the Best Reviewed Films of the Year! (Rotten Tomatoes - 96% among top critics)2008 Top 10 List Selections:-Entertainment Weekly Owen Gleiberman-New York Times Stephen Holden-Los Angeles Times Kenneth Turran-USA Today - Susan Wloszczyna-Metacritic.com #1 - Marc Boyle-Plus over 10 others (Washington Post, Oregonian, Newark Star Ledger, Seattle Times, Austin Chronicle, etc.)Bonus Features: Deleted Scenes Outtakes English Language Track English Subtitles

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Friday, May 20, 2011

Amelie (2001) Review

Amelie (2001)
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I have seen thousands of films in my life, and thought nothing could surprise me anymore on a screen. Amelie proved me I was wrong. Instead of writing another "best film ever" comment, I would like to give some indications for non-french speaking viewers, as the translation might have made some lines a bit obscure.
Amelie says to Colignon "Meme les artichauds ont du coeur" (Even artichokes have a heart). In french, "un coeur d'artichaud" (an artichoke heart) is a person that falls very often and easily in love.
Colignon calls Amelie "Amelie-melo" (pronounce "ah-may-LEE-may-low") which sounds like "un meli-melo", a muddle or mix-up.
In the cafe, people discuss about time and weather, as the same word "temps" means both "le temps qui passe" (time that passes) and "le temps qu'il fait" (the weather). So goes Hippolito's theory : they speak about the weather because they are afraid of the passing time.
Collignon says about his mother : "Elle a une memoire d'elephant, un elephant de mer" (literally: she has memory like an elephant, a sea elephant). A "sea elephant" is a sort of walrus, and "mer" (sea) and "mere" (mother) are pronounced the same.
When Amelie is in a theater, she watches "Jules & Jim", a movie by Francois Truffaut. There are many references to Truffaut in the movie : Claire Maurier plays the mother in "the 400 blows" and many scenes refer to "Bed and Board", which itself refers to Hitchcock's "Rear window". I still have to figure which was the movie whith Spencer Tracy driving without watching...
When Amelie watches her projected life on TV, a scene that refers to Woody Allen's "Zelig", the voice over is from Frederic Mitterand, nephew of his uncle, who is famous for commenting weddings or funerals of aristocrats on french TV.
The "likes/dislikes" narration was experimented by Jeunet in a short movie "Foutaise" with Dominique Pinon, that will be included in the collector edition of the DVD. It also refers to "La vie, mode d'emploi" (Life: a user's manual) from Georges Perec, although Jeunet admits he could never finish the book.
Most TV scenes are stock shots. The story about the horse running in the Tour de France is true. Most stories told in the film are true, including the one about collecting discarded pictures.
There are numerous references in the movie, including to other Jeunet films. The scene in the mystery train is almost a copy of a similar scene in Alien : Resurrection where Ripley has an almost tender behaviour with the alien.
Finally, "Amelie" comes from "Emily", as Emily Watson was supposed to play the role, and "Poulain" is both a young untrained horse and a chocolate brand. And this is not a coincidence.

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Nominated for five Academy Awards including Best Original Screenplay, this magical comedy earned overwhelming acclaim nationwide! A painfully shy waitress working at a tiny Paris cafe, Amélie makes a surprising discovery and sees her life drastically changed for the better! From then on, Amélie dedicates herself to helping others find happiness ... in the most delightfully unexpected way! But will she have the courage to do for herself what she has done for others?

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Saturday, April 9, 2011

Paris, Je T'Aime (Paris, I Love You) (2007) Review

Paris, Je T'Aime (Paris, I Love You) (2007)
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Paris is a city of light, lovers, art and beauty. And "Paris, Je T'aime" explores all the sides of the city in in eighteen brief fiolms, all set in various arrondissements of Paris, and directed by some brilliantly underrated directors. And they seem to be about love -- often it's a person, but each one is also an ode to Paris itself.
A somewhat lonely Denver mailwoman (Margo Martindale) makes her first trip to Paris, and recounts how "I fell in love with Paris, and Paris fell in love with me." A mime spreads colour and mischief on his way to love. Two strangers fall in love in a bar. A medic learns that a dying man is in love with her, and seeking her out inadvertantly led to his death at the hands of a racist gang.
A young boy leaves his misogynistic pals behind, to seek love with a young Muslim girl. A pair of British people visit the tomb of Oscar Wilde in Pere-Lachaise, an American actress falls for her drug dealer, and a young nanny's dismal living conditions are a stark contrast to that of the people she works for. All these -- and more -- are intertwined gently in the finale.
But two stand out especially. Tom Tykwer's includes a young blind man (Melchior Beslon) receiving a call from his American actress girlfriend (Natalie Portman). She tells him, "Our spring was wonderful but summer is over now and we missed out on autumn... our love fell asleep, and the snow took it by surprise." In his sorrow, he thinks back to how they met, and how their relationship continued... and gets a surprise.
And Vincenzo Natali turns in a bloody, gothic love story. A young American tourist (Elijah Wood) is walking alone at night, when he steps in a pool of blood. He follows the blood to where a beautiful vampire (Olga Kurylenko) is slurping someone to death -- only to have a sudden attraction bloom up between them. When he has a fall, what will happen?
"Paris Je T'aime" has it all -- comedy, tragedy, romance, racial tension, religion, vampires, sunlit vacations, glamour and cliches. Okay, there's the occasional dud -- "Tuileries," about an American tourist by the Coen Bros., is just lame. But since all the directors are given only about five minutes, most of them are tiny, polished gems without any extraneous material.
Natali's is colourless (except for blood) and eerie, Gurinder Chadha's is shyly sweet and sunny, Richard LaGravenese's is adorable, Craven's is syrupy, and Tykwer's is a delicate web of camera tricks and blurred glimpses. Sylvain Chomet even charms us with mimes zooming through the streets. And each brings another dimension of Paris to life, from lush green parks to bars to the Eiffel Tower itself.
And the acting is just as great -- the great Juliette Binoche, Seydou Boro, Catalina Moreno, Marianne Faithfull, Fanny Ardant, Gérard Depardieu, and the adorable Melchior Beslon. Martindale deserves special praise for her sweetly realistic portrayal of an American tourist, and Portman is brilliantly vibrant as a girl who yells a lot. And Elijah Wood turns out a brilliant performance in total silence, managing to convey fear, mischief, eroticism and love.
"Paris Je T'aime" is a collection of little gems, with the occasional dull pebble thrown in -- brilliant directors, emotionally charged stories, and great acting. Enchanté!

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In PARIS, JE T'AIME, celebrated directors from around the world, including the Coen Brothers, Gus Van Sant, Gurinder Chadha, Wes Craven, Walter Salles, Alexander Payne and Olivier Assayas, have come together to portray Paris in a way never before imagined. Made by a team of contributors as cosmopolitan as the city itself, this portrait of the city is as diverse as its creators' backgrounds and nationalities. With each director telling the story of an unusual encounter in oe of the city's neighborhoods, the vignettes go beyond the 'postcard' view of Paris to portray aspects of the city rarely seen on the big screen. Racial tensions stand next to paranoid visions of the city seen from the perspective of an American tourist. A young foreign worker moves from her own domestic situation into her employer's bourgeois environs. An American starlet finds escape as she is shooting a movie. A man is torn between his wife and his lover. A young man working in a print shop sees and desires another young man. A father grapples with his complex relationship with his daughter. A couple tries to add spice to their sex life. These are but a few of the witty and serendipitous narratives that make up PARIS, JE T'AIME.

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