As Captain Marvel and Shazam hit the skies from opposing sides of the DC/Marvel showdown, see how, at one point, they both had the same name.
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Title: Les destinées (2000)
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| Cast overview, first billed only: | |||
| Emmanuelle Béart | ... | Pauline Pommerel | |
| Charles Berling | ... | Jean Barnery | |
| Isabelle Huppert | ... | Nathalie Barnery | |
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Olivier Perrier | ... | Philippe Pommerel |
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Dominique Reymond | ... | Julie Desca |
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André Marcon | ... | Paul Desca |
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Alexandra London | ... | Louise Desca |
| Julie Depardieu | ... | Marcelle | |
| Louis-Do de Lencquesaing | ... | Arthur Pommerel | |
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Valérie Bonneton | ... | Arthur Pommerel's wife |
| Pascal Bongard | ... | Vouzelles | |
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Didier Flamand | ... | Guy Barnery |
| Jean-Baptiste Malartre | ... | Frédéric Barnery | |
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Nicolas Pignon | ... | Bavouzet |
| Catherine Mouchet | ... | Fernande | |
In late nineteenth century Charante, Protestant minister Jean Barnery causes local disquiet when he arranges a separation from his obsessive wife - and more talk when he decides to take her back. By this time he has been drawn to Pauline, niece of a Cognac distiller, and this precipitates him divorcing his wife, settling on her and his daughter the shares he owns in his family's porcelain factory. He resigns the ministry, marries Pauline, and moves to Switzerland and a tranquil life. On the death of his father he agrees to return home to save the factory, knowing the problems it will bring will change his life completely. So it proves, with service in the Great War having a further profound impact on him and those around him. Written by Jeremy Perkins {J-26}
The film was sensitive, but disappointing.
It was over-extended and in spite of the elements to a period flick being present -- set in a small village, a devoutly Protestant porcelain empire in Limoges, the Swiss Alps, and World War I -- it lacked the period movie breadth like how the Italian's would do it.
Not even the beauty of Béart nor the shaky camera technique used throughout the movie could hold our attention for such a long time.
Oh well, this was Olivier Assayas' first period film, a departure from his contemporary works.
That's a valid excuse for the film, I guess.