The story of Pascal Ichak, a larger-than-life French traveller, bon vivant, and chef, who falls in love with Georgia and a Georgian princess in the early 1920s. All is well until the ... See full summary »
Yan is a successful artist. One day he is waiting for his date Florence to turn up at his apartment. As the doorbell rings, he finds another young woman in underwear on his doorstep: his ... See full summary »
Coming out from jail, Lucas has decided to change his life and behave like a good citizen. But when he is taken hostage in a bank by a hare-brained robber, no cops can believe he is not ... See full summary »
In this road comedy from France, the goal is a convent where a woman at death's door and the travelers are her husband (a philosopher who has been in a madhouse since trying to strangle the... See full summary »
In 19th century, a disillusioned priest helps a young boy drifter who's a chess wunderkind to move on up in life and social structures using his talent. Years later, he's a success, but game of life and love has higher stakes than chess.
But no return to cloak and dagger style which was trendy in France un the 1955-1965 years.King Louis the thirteen's reign does not interest that much the scriptwriters,and since "les trois mousquetaires " and one ersatz "le capitan" circa 1960,it's virtually forgotten.
"L'amour conjugal" has nothing to do with cloak and dagger stories ;there are historical allusions,notably the duels which were forbidden by Louis the thirteen's minister,Cardinal de Richelieu and a war ,but which one?Probably the Thirty Years war.But actually ,this is the story of a fallen noble (Samy Frey),who marries a strange woman (Caroline Sihol ).This is a work for highbrows fond of mental masturbation.Most of the action takes place in the nature and the historical context is quickly forgotten .The tempo is very slow and the characters are not very endearing.It seems that the director's ambitions were greater than his skills and you often yawn your head off."L'amour conjugal" has reasons that reason does not know :this love can blossom only when a ritual -vengeance -is accomplished for both of them.A short epilogue ,taking place seven years later ,seems to show that the couple has finally found peace of mind.In fact this story could happen nowadays: was the seventeenth century more bestial,more violent and more ruthless than ours?So why this era?
It's a joy to see Matthieu Carrière but his part is so small that it does not do him justice.
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