Les destinées
(2000)
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Les destinées
(2000)
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| Cast overview, first billed only: | |||
| Emmanuelle Béart | ... |
Pauline Pommerel
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| Charles Berling | ... |
Jean Barnery
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| Isabelle Huppert | ... |
Nathalie Barnery
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Olivier Perrier | ... |
Philippe Pommerel
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Dominique Reymond | ... |
Julie Desca
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André Marcon | ... |
Paul Desca
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Alexandra London | ... |
Louise Desca
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| Julie Depardieu | ... |
Marcelle
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Louis-Do de Lencquesaing | ... |
Arthur Pommerel
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Valérie Bonneton | ... |
Arthur Pommerel's wife
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Pascal Bongard | ... |
Vouzelles
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Didier Flamand | ... |
Guy Barnery
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Jean-Baptiste Malartre | ... |
Frédéric Barnery
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Nicolas Pignon | ... |
Bavouzet
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| Catherine Mouchet | ... |
Fernande
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In late nineteenth century Charante, Protestant minister Jean Barnery causes local disquiet when he arranges a separation from his obsessive wife - and more talk when he decides to take her back. By this time he has been drawn to Pauline, niece of a Cognac distiller, and this precipitates him divorcing his wife, settling on her and his daughter the shares he owns in his family's porcelain factory. He resigns the ministry, marries Pauline, and moves to Switzerland and a tranquil life. On the death of his father he agrees to return home to save the factory, knowing the problems it will bring will change his life completely. So it proves, with service in the Great War having a further profound impact on him and those around him. Written by Jeremy Perkins {J-26}
Chardonne's novel is a masterfully written tale about two characters as they spiral through and explore love as life's most essential element. The director captured it beautifully as a tone, a feeling, and as an overall impression of how the characters react to their journey. Unfortunately, he left out the milestones, those transitions a character makes, inwardly, as outward events bear in on them. The audience is asked to make gigantic leaps of logic as the character's trust in and dependence on Love changes, evolves with age. Mind you this is a three hour epic, so it is not for want of time that the production misses the mark, only the screenwriter's discipline, and here, again, the director got involved where he ought not be.