CALIFICACIÓN DE IMDb
7.6/10
76 k
TU CALIFICACIÓN
Cuenta la historia de una joven y la búsqueda implacable por su prometido, desaparecido en las trincheras del Somme durante la Primera Guerra Mundial.Cuenta la historia de una joven y la búsqueda implacable por su prometido, desaparecido en las trincheras del Somme durante la Primera Guerra Mundial.Cuenta la historia de una joven y la búsqueda implacable por su prometido, desaparecido en las trincheras del Somme durante la Primera Guerra Mundial.
- Nominado a 2 premios Óscar
- 17 premios ganados y 35 nominaciones en total
Jean-Pierre Darroussin
- Benjamin Gordes
- (as Jean Pierre Darroussin)
Jean-Pierre Becker
- Esperanza
- (as Jean Pierre Becker)
Jean-Paul Rouve
- Le facteur
- (as Jean Paul Rouve)
Elina Löwensohn
- La femme allemande
- (as Elina Lowensohn)
Argumento
¿Sabías que…?
- TriviaWhen casting Jodie Foster, Jean-Pierre Jeunet met her in Paris at the café which was used to shoot the scenes in Amélie (2001) which is near where he lives. Some tourists were at the café, knowing it was featured in the film, asked Jeunet and Foster to move out of the way (not recognizing them) so that they could take a photograph of the café.
- ErroresIn the film there is an important storyline about an albatross. However, throughout the film in all footage depicting the albatross a gannet is shown. Though a gannet is also a large seabird, it looks nothing like an albatross.
- Citas
Ange Bassignano: [writes] "Revenge is pointless. Try to be happy and don't ruin your life for me."
- ConexionesEdited from Alas de sobrevivencia (2001)
- Bandas sonorasÇa ne Vaut pas l'Amour
Music by François Perpignan
Lyrics by Alexandre Trébitsch
Performed by Esther Lekain
Opinión destacada
Brilliant
This movie is better than "Amelie" (which I loved). The story is intricately plotted so people with a "Seed of Chucky" attention span will be overwhelmed. It must be the only movie to combine amazing combat scenes with romance, comedy and a complex mystery puzzle. Audrey Tatou is a goddess. Jeunet (the director) is like a combination of Chaplin (the romance and comedy); Hitchcock (the incredible camera work and storytelling); and Spielberg (the battle scenes and emotion).
As to some of the comments I have seen on this site:
There were French people complaining that people were speaking too fast. Gee, I don't speak French, but I can read subtitles just fine, so it was not a problem.
Some people complained that it was too long. Then there were people that complained it was too short. Like Goldilocks, I thought it was just right.
There were those that said that Tatou can't act. Audrey's performance was nuanced people, she's no Jim Carrey. Some said she was just playing Amelie again. Wrong. Amelie was a good-hearted but wishy-washy spirit who was afraid to take any action in her own life. Mathilde is just the opposite, somebody who believes so strongly in her convictions that she is able to follow what her heart tells her in spite of all available evidence and every single person she meets. In fact, every actor, no matter how small the role, turns in a great performance (I'm especially partial to the great Dominique Pinon, who plays Audrey's uncle).
There were complaints about the sex. There are a couple of brief shots of people having sex in the introduction, very similar to Amelie. Plus you get to see Jodie Foster doing the nasty from several directions. If that bothers you, go see Polar Express instead. Personally (especially in light of the rumors of Jodie being a lesbian) I am in favor of the sex scenes. There is also a shot of Audrey's fabulous naked booty, which justifies the price of admission all by itself.
Someone else complained that it was too jarring switching between the horrific WWI trench warfare scenes and the idyllic 1920s Paris. Argghhhh, that's the point!
Then there was the complaint about seeing a scene or shot from a different perspective later in the movie. Have you heard of a story called "Rashomon"? The idea is that you are experiencing the events from the viewpoint of different characters. This is cleverly done and never superfluous. At least one time you are quite startled by new information revealed by that shift in perspective.
All in all, this is a movie that really does have everything. If it were an American movie it would win best picture, best actress, best supporting actress (Jodie still might get nominated), best cinematography, best script from a novel, and best director. As it is scheduled for a Christmas national release, hopefully a lot of people will see it.
As to some of the comments I have seen on this site:
There were French people complaining that people were speaking too fast. Gee, I don't speak French, but I can read subtitles just fine, so it was not a problem.
Some people complained that it was too long. Then there were people that complained it was too short. Like Goldilocks, I thought it was just right.
There were those that said that Tatou can't act. Audrey's performance was nuanced people, she's no Jim Carrey. Some said she was just playing Amelie again. Wrong. Amelie was a good-hearted but wishy-washy spirit who was afraid to take any action in her own life. Mathilde is just the opposite, somebody who believes so strongly in her convictions that she is able to follow what her heart tells her in spite of all available evidence and every single person she meets. In fact, every actor, no matter how small the role, turns in a great performance (I'm especially partial to the great Dominique Pinon, who plays Audrey's uncle).
There were complaints about the sex. There are a couple of brief shots of people having sex in the introduction, very similar to Amelie. Plus you get to see Jodie Foster doing the nasty from several directions. If that bothers you, go see Polar Express instead. Personally (especially in light of the rumors of Jodie being a lesbian) I am in favor of the sex scenes. There is also a shot of Audrey's fabulous naked booty, which justifies the price of admission all by itself.
Someone else complained that it was too jarring switching between the horrific WWI trench warfare scenes and the idyllic 1920s Paris. Argghhhh, that's the point!
Then there was the complaint about seeing a scene or shot from a different perspective later in the movie. Have you heard of a story called "Rashomon"? The idea is that you are experiencing the events from the viewpoint of different characters. This is cleverly done and never superfluous. At least one time you are quite startled by new information revealed by that shift in perspective.
All in all, this is a movie that really does have everything. If it were an American movie it would win best picture, best actress, best supporting actress (Jodie still might get nominated), best cinematography, best script from a novel, and best director. As it is scheduled for a Christmas national release, hopefully a lot of people will see it.
útil•25153
- boboloco
- 5 dic 2004
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Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- También se conoce como
- A Very Long Engagement
- Locaciones de filmación
- Héaux de Bréhat, Côtes-d'Armor, Francia(lighthouse exteriors)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 56,600,000 (estimado)
- Total en EE. UU. y Canadá
- USD 6,524,389
- Fin de semana de estreno en EE. UU. y Canadá
- USD 101,749
- 28 nov 2004
- Total a nivel mundial
- USD 69,424,389
- Tiempo de ejecución2 horas 13 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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