In Paris outskirts Blanche, a young clerk, befriends Lea, a girl livelier than she is. Lea is going steady with Fabien who is a friend to Alexandre who is going steady with Adrienne but is ... See full summary »
Felicie and Charles have a serious if whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in ... See full summary »
Frédéric van den Driessche,
Sabine vows to give up married lovers, and is determined to find a good husband. Her best friend Clarisse introduces her to her cousin Edmond, a busy lawyer from Paris. Sabine pursues ... See full summary »
Reinette and Mirabelle are two young girls. Reinette lives in the countryside, Mirabelle in Paris. They meet during a holiday of Mirabelle in the country, when Reinette helps her to repair ... See full summary »
An episodic look at Grace Elliott (1760-1823) and Philippe, the Duke of Orleans, during the French Revolution. In 1790, they are friends, no longer lovers. He suggests she leave France, she warns him to quit the Revolution. In 1792, she must escape Paris on foot. Less than a month later, she returns on an errand of mercy and shows great courage saving the governor of Tuileries. The Duke in turn steps in to protect Grace. In early 1793, she demands a promise from the Duke that he vote to spare Louis's life; he does not, and Grace is furious. In April, he warns her of a search; she is arrested and brought before the committee. Orleans, too, is suspect. The guillotine awaits. Written by
Revolutions always present opportunities for dramatic films since, in fact, most revolutions are in themselves dramatic events. Unfortunately, what this film lacks in drama is compensated for by an overabundance of boredom. One cares not who wins, loses, dies or lives--just end it as soon as possible. This is due in large measure to what seems to me to be a superficial use of background technology. Scenes of Paris and the French countryside have a cardboard quality about them. They might better be done on a bare stage and left that way. One cannot expect the amazing effects of "The House of the Flying Daggers" or "The Golden Compass," but , after all, this is a 2002 digitally mastered production. Characters seem to enter a scene for the sake of entering a scene, so much so that one loses count of the number of times character enter and leave rooms. In my view, this film turns the French Revolution of the 1790s into the "papier-mache" revolution of a "papier colle" world.
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