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Esther Kahn (2000)

6.7
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Ratings: 6.7/10 from 702 users   Metascore: 46/100
Reviews: 14 user | 23 critic | 12 from Metacritic.com

A Jewish girl in 19th century London dreams of becoming a stage actress.

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Title: Esther Kahn (2000)

Esther Kahn (2000) on IMDb 6.7/10

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Cast

Cast overview, first billed only:
...
...
Nathan Quellen
Fabrice Desplechin ...
Philippe Haygard
...
Samuel Kahn
...
Rivka Kahn
László Szabó ...
Ytzhok Kahn
Hilary Sesta ...
Buba
Claudia Solti ...
Mina Kahn
...
Becky Kahn
Paul Regan ...
Joel
Arnold Brown ...
Rabbi
Leon Lissek ...
Theatre manager
Ian Bartholomew ...
Norton
Samantha Lavelle ...
Christel
Paul Ritter ...
Alman, the photographer
Edit

Storyline

A Jewish girl in 19th century London dreams of becoming a stage actress.

Add Full Plot | Add Synopsis

Genres:

Drama | Romance

Certificate:

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Details

Country:

|

Language:

Release Date:

4 October 2000 (France)  »

Also Known As:

Szenvedélyes színdarab  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

|

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Chosen by "Les Cahiers du cinéma" (France) as one of the 10 best pictures of 2000 (#01) See more »

Quotes

Nathan Quellen: Because what has to happen, is that every step you take has to be more unbelievable than the step before. E-Every step has to be - well it has to have an idea behind it, an idea t-that is so complex, it would take, 10 philosophers just to decipher it. Each step has to stretch like a rope - in the audience's mind. Until they can't bare it anymore and they want to cry out, "Careful Esther you're going to break it".
See more »

Connections

Referenced in I'm Still Here (2010) See more »

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User Reviews

 
exhausting yet unconvincing portrait of the artist as young woman
15 April 2001 | by (los angeles) – See all my reviews

The point of the vastly extended preparatory phase of this Star is Born story seems to be to make ultimate success all the more sublime. Summer Phoenix is very effective as an inarticulate young woman imprisoned within herself but never convincing as the stage actress of growing fame who both overcomes and profits from this detachment. Even in the lengthy scenes of Esther's acting lessons, we never see her carry out the teacher's instructions. After suffering through Esther's (largely self-inflicted) pain in excruciating detail, we are given no persuasive sense of her triumph.

The obsessive presence of the heroine's pain seems to be meant as a guarantee of aesthetic transcendence. Yet the causes of this pain (poverty, quasi-autism, Judaism, sexual betrayal) never come together in a coherent whole. A 163-minute film with a simple plot should be able to knit up its loose ends. Esther Kahn is still not ready to go before an audience.


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