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La fausse suivante (2000)

6.4
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A young woman disguises herself as a knight to expose a gold-digging man divided between her and a Countess.

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Title: La fausse suivante (2000)

La fausse suivante (2000) on IMDb 6.4/10

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Cast

Cast overview:
...
...
Le chevalier
...
Trivelin
...
Lélio
Alexandre Soulié ...
Arlequin
Philippe Vieux ...
Frontin
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Storyline

A young woman disguises herself as a knight to expose a gold-digging man divided between her and a Countess.

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Genres:

Comedy | Drama

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Release Date:

8 March 2000 (France)  »

Also Known As:

La doncella falsa  »

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1.85 : 1
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Did You Know?

Soundtracks

Les Charmes
Music by François Couperin
Performed by Christophe Rousset
© Harmonia Mundi 1999
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User Reviews

 
Profounder than 'Dangerous Liaisons' and 'Shakespeare in Love'
13 December 2005 | by (Amsterdam) – See all my reviews

Marivaux (an 18th century playwright) had a reputation for writing 'light' comedies about love, the ambiguity that can exist between men and women, lovers of both sexes, servants and masters, and what can be fun (and semi-tragic) about it. In each of his plays, there is always something to learn, a moral which can often seem moralistic in our modern time. The language used is typical of the 18th century: every word is chosen very carefully and has often a double meaning (especially in this case). Benoît Jacquot has managed to stay faithful to Marivaux's spirit, while making a fine film that avoids all the dangers of 'filmed plays' (which can be excessively static). The scenes take place in a modern Parisian (but classical Italian-style) theater (no grandiose reconstitution like in 'Shakespeare in Love' or 'Dangerous Liaisons'), the costumes are typical of Marivaux's time, there is hardly any music (except for a few chords of Couperin's 'Charmes' between some important scenes) and the acting isn't too 'modern'. And yet, it is far from being boring: there's a perfect balance between the various genres, the actors are excellent, the intrigue becomes every minute more thrilling, and because of the proximity of the camera (something that you usually miss in a theater), you get to experience all the cruelty of the 'game' through the actors looks. The only problem might be for those who are not fluent in French. Dubbing this film wouldn't make any sense. I wonder if it has ever been subtitled, of it will ever be... Even so, there is almost no way the subtlety of the 18th century language can be translated (especially with the speed at which the actors sometimes speak). But this is nonetheless a challenge one should take up. Only because this film makes you feel like going more often to the theater, and also because it proves that filmed-plays do work!


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