IMDb-BEWERTUNG
5,6/10
4177
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuFollowing the death of a mother, a father and son open up their very own harem in their Genevan estate after watching Achteinhalb (1963).Following the death of a mother, a father and son open up their very own harem in their Genevan estate after watching Achteinhalb (1963).Following the death of a mother, a father and son open up their very own harem in their Genevan estate after watching Achteinhalb (1963).
- Auszeichnungen
- 2 Nominierungen
Annie Shizuka Inoh
- Simato
- (as Shizuka Inoh)
Pol Hoffmann
- Mourner
- (as Paul Hoffmann)
Ann Overstall Comfort
- Mourner
- (as Ann Overstall)
Handlung
WUSSTEST DU SCHON:
- WissenswertesToni Collette said Peter Greenaway chose her by accident for the role of Griselda. "I went in for another part and I had just had my head shaved and I had a Buddha hanging around my neck. Afterwards I thought, 'This is going to teach me to go to an audition looking like that'. " In fact Greenaway chose her for playing a woman who is blackmailed into serving on a brothel and posing as a lascivious nun. In the role, in addition to having her head bald, Collette has a scene in which she strips naked, showing her fully shaved vulva, a symbol, according to Greenaway, of total sexual submission. "Peter Greenaway's odd, but very interesting. And he let me try everything I suggested," added Collette.
- Zitate
Philip Emmenthal: How many directors do you think use films to fulfill their sexual fantasies?
Storey Emmenthal: Most of them, I think.
- VerbindungenFeatures Achteinhalb (1963)
- SoundtracksSosaku Yoshiwara
(Kabuki music)
Written by Hirokazu Sugiura
Ausgewählte Rezension
Better than its Reputation
Despite being hissed at Cannes this film is still well worth seeing. I purchased the DVD and the more I watch it the better I like it. For a start, as with all Greenaway's work since The Falls, the photography is ravishing. I don't think anyone makes films which look better.
What few have picked up on is that (as well as an attempt to pick up Fellini's 8 1/2-ball and run with it), this is almost a remake of "A Zed and Two Noughts". Both films study bizarre responses to bereavement. both films play on doubling, in this case a father and son rather than two brothers. Both films touch on bestiality (with animals called Hortense!), gynecology, sex with amputees, a menagerie (in this case of women rather than animals), prostitution, uses of light, storytelling, and the colours black and white.
Where that film referenced painting, this references performance in many guises - cinema, kabuki, cross-dressing, opera, television, prostitution, as well as painting.
Contrary to at least one other user comment, there is no sexual intercourse shown in the film, although there is a quantity of nudity. It's very odd, if perhaps unsurprising, that this film has been sold as a sexy movie. SexIST? Well, confusing an ironic depiction of men's sexual fantasies with a reduction of women to the level of fantasy is 'politically correct' laziness at best. And as with most of Greenaway's films, the women are the winners in the end.
One reason this is harder work than the earlier film is the lack of Michael Nyman's ravishing music. I'm not sure why Greenaway stopped working with Nyman; possibly he felt he was stuck in a rut - perhaps he was nettled by charges that any old footage looked like Greenaway if you played Nyman's music behind it. Either way, he's yet to arrive at a truly satisfactory alternative. Here we have "Slow Boat to China" sung a capella by the two leads, rather after the manner of Morecambe and Wise. It's quite funny, but it's not the marriage of sound and image of earlier films.
The extent to which Philip Emmenthal represents Greenaway himself is perhaps worth considering. A character makes reference to Fellini having Mastroianni make love to all the women Fellini couldn't, and asks whether all directors make films to fulfil their own sexual fantasies. Emmenthal is notably the same age as Greenaway.
He may not be sweeping the art-house scene before him these days (in fact there's not much of an art-house scene left these days), but in the end, even below-par Greenaway is better than 99% of directors can even aspire to.
What few have picked up on is that (as well as an attempt to pick up Fellini's 8 1/2-ball and run with it), this is almost a remake of "A Zed and Two Noughts". Both films study bizarre responses to bereavement. both films play on doubling, in this case a father and son rather than two brothers. Both films touch on bestiality (with animals called Hortense!), gynecology, sex with amputees, a menagerie (in this case of women rather than animals), prostitution, uses of light, storytelling, and the colours black and white.
Where that film referenced painting, this references performance in many guises - cinema, kabuki, cross-dressing, opera, television, prostitution, as well as painting.
Contrary to at least one other user comment, there is no sexual intercourse shown in the film, although there is a quantity of nudity. It's very odd, if perhaps unsurprising, that this film has been sold as a sexy movie. SexIST? Well, confusing an ironic depiction of men's sexual fantasies with a reduction of women to the level of fantasy is 'politically correct' laziness at best. And as with most of Greenaway's films, the women are the winners in the end.
One reason this is harder work than the earlier film is the lack of Michael Nyman's ravishing music. I'm not sure why Greenaway stopped working with Nyman; possibly he felt he was stuck in a rut - perhaps he was nettled by charges that any old footage looked like Greenaway if you played Nyman's music behind it. Either way, he's yet to arrive at a truly satisfactory alternative. Here we have "Slow Boat to China" sung a capella by the two leads, rather after the manner of Morecambe and Wise. It's quite funny, but it's not the marriage of sound and image of earlier films.
The extent to which Philip Emmenthal represents Greenaway himself is perhaps worth considering. A character makes reference to Fellini having Mastroianni make love to all the women Fellini couldn't, and asks whether all directors make films to fulfil their own sexual fantasies. Emmenthal is notably the same age as Greenaway.
He may not be sweeping the art-house scene before him these days (in fact there's not much of an art-house scene left these days), but in the end, even below-par Greenaway is better than 99% of directors can even aspire to.
hilfreich•295
- Krustallos
- 28. Juni 2004
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Details
- Erscheinungsdatum
- Herkunftsländer
- Sprachen
- Auch bekannt als
- Achteinhalb Frauen
- Drehorte
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Box Office
- Bruttoertrag in den USA und Kanada
- 424.123 $
- Eröffnungswochenende in den USA und in Kanada
- 92.000 $
- 29. Mai 2000
- Weltweiter Bruttoertrag
- 437.568 $
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