The only thing more outrageous than French novelist George Sand's torrid love affair with the decadent author Alfred de Musset and her affinity for wearing men's clothing, was the content ...
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The only thing more outrageous than French novelist George Sand's torrid love affair with the decadent author Alfred de Musset and her affinity for wearing men's clothing, was the content of her writing. Though Sand (otherwise known as the Baroness Dudevant) smoked cigars and cross-dressed, it was the boldness of her writing on issues such as the abstinence of marriage and women's frigidity that most contributed to the scandalous reputation she earned in French literary circles. When she met Alfred de Musset, the most gifted poet of his generation, the two quickly became a public cause celebrity while their work would go on to become some of the finest examples of 19th century romanticism.Written by
Sujit R. Varma
The film was shot in the actual rooms in the Hotel Danieli which Sand and Musset stayed in. See more »
Love does exist, it's not an illusion. One merely has to recognise it, and be humble before it.
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The original French theatrical version, which runs at 135 mins begins as Sand plans to leave her husband and Musset's father dies. This version continues after their final meeting as Sand begins to write her story and attempts in vain to see Musset one last time. This version ends with a direct to camera address by Sand at Musset's tomb. A shorter theatrical version was released in Germany, Spain, UK and US which begins with Sand reading from "Lélia" and ends with Sand and Musset's final meeting. It runs at 105 mins. This version contains two new scenes: Sand and Musset being introduced to each other and a dance sequence. However the opening sequences featuring Sands arrival in Paris during an uprising and her relationship with Marie Dorval are lost, as are the closing scenes as she attempts to see Musset a final time. Most DVD releases have favored the Original 135 min version which was more critically popular. See more »
If Romanticism, as a movement, can be defined as an "infinite longing" which combines passion and erotic tension with death, despair, and the cycles of nature, then Kurys film portrayal is aptly named and her protagonists--Alfred de Musset and Georges Sand--are indeed children of their century.
The key to understanding the point of this film is to think of it as a painting. It does not give you an insider's view of the relationship between these two literary giants; it does not break down their psychology; and you do not even understand why you, as an audience member, should like either of them. Yet their obsessive love was a monument for the first major artistic movement of the 19th century. Kurys paints them as Delacroix would--in all their lurid color, capturing the details of high emotion without explaining a thing. As painting on film, Les Enfants succeeds as wildly as any Romantic dreamscape and, thus, captures the mood of that era and the sentiment which spawned it more perfectly than 1,000 words on the subject.
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