|Page 1 of 2:|| |
|Index||11 reviews in total|
This movie is just great!
It explores with subtlety the very complicated emotional relations between a young girl, her catholic depressive mother, her jewish father, her brother, her new "girl" friend. Entangled in her newborn exploding sexuality and her rebellious thoughts, she tries to deal with the great issues of life in 1963.
The acting is so precise and touching, and the direction, efficient and delicate, it's a must see movie. A great one.
Hanna (Karine Vanasse) is a Canadian teenager in the early sixties.And she
shapes her own identity.
Her parents escape from their responsibilities: her father
prefers playing chess to working; and her mother is a depressive
woman (several suicide attempts). That's why she decides
leading her own life. But Reality is stronger than she
Life bites hard...
Emporte-moi is partly an autobiographical movie. Léa Pool presents an interesting analysis of the familial relationship and adolescence. Well, this melancholy movie is very touching. Even the scene of the abandoned dog moved. Anyway, the acting is quite perfect and right. Karine Vanasse is magic, Miki Manojlovic surprising in comparison with his performance in "Underground".We can just regret the underemployment of Pascales Bussières, which is paradoxical given the closed relationship between Hanna and her mother.
Well...I have to say that anyone get out of the cinema before the closing credits:a surprise is awaiting you. I put a 8 out of 10.
This is a sometimes touching, sometimes disturbing, and sometimes funny
look at a girl's transition from childhood to womanhood. Hanna's (the
main character) life story closely mirrors the development of Quebecois
society, and the film's 1963 setting furthers that idea. Hanna is
caught between her father's Jewish background and her mother's
traditional, Catholic upbringing. She spends her summers in rural
Quebec while living in the rapidly changing city of Montreal. Also, she
is influenced by Jean-Luc Godard's now-classic Vivre sa vie, and Hanna
attempts to emulate the behaviours of that film's prostitute
protagonist. This is a film very concerned with the beauty of
self-expression while also acknowledging the challenges such pursuits
present to us all (seen especially in the father's tormented dream of
being a poet). Though the film deals with some very traumatic subject
matters, it also leaves us with a glimmer of hope that is beautiful in
Lea Pool's direction wavers between high degrees of realism and stunning experimental styles, and she weaves them together seamlessly to reflect Hanna's state of mind. Lovers of classical cinema will certainly enjoy this film. Some of the camera work--such as the film's opening few minutes, and Hanna's flight through the streets of Montreal--are nothing short of spectacular.
Finally, the acting of the film's central three characters (Hanna, her father, and her mother) is exceptional. Hanna's exchanges with her exhausted mother are genuine and heartfelt, while the fits of rage directed toward her father are equally so. Both parents play their roles with enough pathos to be convincing, but they stay well away from overacting or exceeding what the script requires of them.
Young people may struggle to identify with the themes of the film, but a slightly older audience will certainly be left with much to reflect upon.
Set in 1963, Montreal, and fourteen year old Hanna, (Karine Vanasse), journeys through a bad patch in life. Her mum is mentally ill, her father is a dead end poet and her brother a little rebel but going through the same turmoil as she is. When reality fails you, you turn to the movies. In this instant, Hanna discovers Jean-Luc Godard's VIVRE SA VIE, a little gem about the exploits of a Parisian hooker, (Anna Karina). Taking on that film's persona to heighten her life, she falls into sexual misadventures. This all under the caring direction of Lea Pool, who throws in a few classic tunes of that era to brighten the mood.
Caught between childhood and the adult world, in a time similarly challenged by change, Karine Vanasse is enchanting as a girl coming of age in 1960s Quebec. Parents, teachers, sex, philosophy, obsession with a film character, running away -- we've seen it all before, but this is a loving remembrance, shot in warm colours, with a thoughtful script and excellent performances, richly evoking the emotion, confusion and excitement of adolescence.
"Emporte-moi" is the latest Léa Pool movie. I was invited to the premiere in Montreal at the Loews theater. I was stunned! It's one of the best movies I've ever seen. Newcomer Karine Vanasse (who I had the chance to meet) does to this movie what Tori Amos does for her albums. What I mean is that she brings the movie to life and supports it all magnifically on her back. This is the new talent out of Quebec for the year 2000. Also, you can not put aside the brilliant performances by Pascale Buissière and the rest of the cast. To conclude, go see it right away or if you ever get your hands on a copy when it goes to video, don't waste your chance of seeing this genius movie.
Young Karine Vanasse is astounding. Her stillness, poise &
combined with youthful yearning and curiosity - completely draw you
Pascale Bussières, as always, doesn't disappoint.
I first saw the movie in the Jerusalem Film Festival 1999. It took me by surprise. Until this movie I didn't see many movies in Jerusalem that I got out of the movie and wanted to meet all the actors, and wanted to know everything about them. What can I tell you, the movie was AMAZING. I have never seen another like it. The actors are great, the photogarphy is beautifull, everything is so well-done and well-planned, that there are no bad words. It made my festival. I'm sure it'll make your day.
As most French movies, according to me, also in this movie there is no clear story line, nothing that is more important, nothing that the movie "is about". I'd almost say, no beginning, no end, no moral. A typical French movie: A portrait. A portrait of a family in this case, with a 13 year old girl as main character (although she looks 16 most of the time). What is nice about a movie like this is that you become more a part of it, it is much more like real life and therefore a lot more interesting in some way. Nevertheless, when things are TOO normal you get bored. And this movie has only two or three really interesting aspects: The relationships within the family (sister, brother, father, mother) and the first romance of Hanna. Can't remember the third actually. The reason I gave this movie a 7 and not a 6 is because I really enjoyed those two aspects and because the acting of Karine Vanasse is very professional, impressive.
The heroine's search for a personal identity takes the form of striking between oppposites - girl/boy, mother/father, film/reality, country/city, Judaism/Catholicism, conformity/individuality. This is a rites-of-passage as Portrait Of The Filmmaker as a Young Woman, with Hanna taking inspiration (and dangerously, destiny) from Anna, Karina that is, in 'Vivre Sa Vie', while storing up, Wordsworth-like, artistic inspiration from Godard. Pool's conventional filmmaking puts Godard's masterwork in relief, and makes it seem even more miraculous.
|Page 1 of 2:|| |
|Newsgroup reviews||External reviews||Official site|
|Plot keywords||Main details||Your user reviews|
|Your vote history|