It's late 17th century. The viola da gamba player Monsieur de Sainte Colombe comes home to find that his wife died while he was away. In his grief he builds a small house in his garden into... See full summary »
The Comte de Gonzague schemes against his cousin, the Duc de Nevers, even though he is the Duke's heir and will inherit his estates. The Count has kept secret the existence of the Duke's ... See full summary »
Philippe de Broca
December 1897, Paris. Edmond Rostand is not yet thirty but already two children and a lot of anxieties. He has not written anything for two years. In desperation, he offers the great ... See full summary »
A dashing officer of the guard and romantic poet, Cyrano de Bergerac is in love with his cousin Roxane without her knowing. His one curse in his life, he feels, is his large nose and although it may have been a forming influence in his rapier-sharp wit, he believes that Roxane will reject him. He resorts to writing letters to her on behalf of one of his cadets, Christian, who is also in love with Roxane but just doesn't know how to tell her. She falls for the poetic charm of the letters but believes that they were written by Christian.Written by
Graeme Roy <email@example.com>
The appearance of the Comte de Guiche in the play and film represents another connection to Alexandre Dumas's Musketeer novels. As referenced in the play, the Comte (Antoine de Gramont III) was married to Cardinal Richelieu's niece. Richelieu was the antagonist in the original Three Musketeers. He also makes a brief appearance in the second Musketeer novel, Twenty Years After. His son, Armand de Gramont, is a major character in that novel and the final one, The Viscount of Bragelonne. See more »
Man at Theatre:
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Gérard Depardieu became famous with Cyrano, and Cyrano de Bergerac knew its master with Depardieu.
This classic piece of French literature is based on real events (largely adapted), and while it is a stage play, the skill of transposing the play to the silver screen is a feat!
The film resorts to skillful cutting of the text (now public domain - check Gutemberg), which sounds easy, but is not, because it flows so naturally and needs to be cut surgically, word for word.
At the same time, all that is missing from the script by Edmond Rostand is inspired by generations of stage performance. The miracle then is making the script in French likable to audiences who do not understand French, as Edmond Rostand can be compared to George Bernard Shaw, Shakespeare and Samuel Beckett.
The genius of Gérard Depardieu and the beauty of the sets, the quality and care for detail all push to bring this beautiful film within reach of non French audiences. In that respect the sword duel scene at the beginning is memorable and worth playing twice on DVD!
One thing though, the finale scene I found awkward but Edmond Rostand created it so the director had no choice.
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