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Les herbes folles (2009)

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A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red ... See full summary »

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(novel), (adaptation) (as Alex Reval) | 1 more credit »
2 wins & 10 nominations. See more awards »

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Cast

Cast overview, first billed only:
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...
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Josepha
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Michel Vuillermoz ...
Lucien d'Orange (as Michel Vuillermoz de la Comédie Française)
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Le narrateur (voice)
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La voisine
...
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Jean-Mi
Vladimir Consigny ...
Marcelin Palet
Dominique Rozan ...
Sikorsky
Jean-Noël Brouté ...
Mickey
Elric Covarel Garcia ...
Acolyte aviation
...
Acolyte aviation
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Storyline

A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red wallet he found in to the police. Nor is it that Marguerite can recuperate her wallet without being piqued with curiosity about whom it was who found it. As they navigate the social protocols of giving and acknowledging thanks, turbulence enters their otherwise quotidian lives. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG for some thematic material, language and brief smoking | See all certifications »
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Details

Official Sites:

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Country:

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Release Date:

4 November 2009 (France)  »

Also Known As:

Las hierbas salvajes  »

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Box Office

Opening Weekend USA:

$39,162, 27 June 2010, Limited Release

Gross USA:

$403,649, 7 November 2010
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The Spitire is a Supermarine Spitfire PR Mk XIX, number PS 890, built in 1945. It is owned by a French collector (as of 2016) and has the French registration code, F-AZJS. Since the film was made, it has been restored to its wartime colours of RAF 152 (Hyderabad) Squadron (which served in South East Asia) See more »

Crazy Credits

The credits show considerable variation in their presentation. The first credits seen are the individual actor names with the name of the character played, in a serif font, with shadowed letters. These credits are moving left to right across the screen, fading in and out at different points, over a background of the film's name in larger letters, in an italicized serf font. After the first ten actors, there is abrupt change to a sans serif font, again with shadowed text, for both the cast/ characters list and the film title. The film title is now angled up to the right and is not in clear focus. After the names of the cast, the credits start as scrolling white text on a black background using a serif font, then there is a change to a sans serif font and then a return to the serif font. The next change is to black text on a grey background using a serif font. This then reverts to white text on a black background with a serif font, then a change to a sans serif font and then a return to the serif font. These credits do not stay in a central position, but move from side to side on the screen. See more »

Connections

Featured in At the Movies: Cannes Film Festival 2009 (2009) See more »

Soundtracks

20th Century Fox Fanfare
Written by Alfred Newman
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User Reviews

 
Tedious
13 September 2009 | by See all my reviews

As far as I'm concerned, it's been a long downhill road for Resnais since "Hiroshima, mon amour".

I just saw "Les herbes folles" at the Toronto Film Festival right after Michael Haneke's "The White Ribbon" (which is incidentally in my opinion the best film of the decade). Both films rely heavily on a narrated voice-over. In the case of Resnais's piece, it's unbearable.

Beyond this, André Dussollier's and Sabine Azéma's performances are pretty random, bursting from one emotion to another without warning. It _is_ better than hearing them sing in "On connait la chanson", but this is not saying much! At least it matches the unpredictability of their characters' actions, which is the kindest way I can say that the script is still in draft stage, abruptly changing tack several times in the course of the movie.

When the script fails, Resnais resorts to cinematic devices such as repetition, reverse direction, vignetting, and the ever-popular shrinking circle closing in on a character's head. It's annoying.

I am really struggling to say something positive about the movie. Mathieu Amalric's dead pan and humane portrayal of a desk cop is the strong point here. Both his character and performance try to lend a touch of the real world and comedy that succeeds to this otherwise random film. It's unfortunately not enough.


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