From beyond the grave, celebrated playwright Antoine d'Anthac gathers together all his friends who have appeared over the years in his play "Eurydice." These actors watch a recording of the... See full summary »
Odile is looking for a new, bigger apartment. Her younger sister Camille just completed her doctoral thesis has fallen in love with an estate agent who is responsible for Odile's apartment ... See full summary »
In Paris in the 1920s, a concert violinist meets and falls in love with a stylish young flapper who's the wife of an old friend. Romaine instigates the affair with Marcel, and carries it ... See full summary »
In Yorkshire, Toby Teasdale is the alcoholic director of a school and married with two children with Celia Teasdale that is very unhappy. They have a maid, Sylvie Bell, and a guardian and ... See full summary »
Three intertwined tales. On the eve of the First World War, Count Forbek starts to build a fantastic castle in the Ardennes forest. After the war he uses it to start a utopian society by ... See full summary »
A musical drawing room farce set in Paris in October, 1925. Gilberte, in middle-age, flirts with men but loves her husband Georges, wishing he were more demonstrative. He's negotiating a ... See full summary »
Irrestisible charm and talent helps Serge Alexandre alias Stavisky, small-time swindler, to make friends with even most influential members of French industrial and political elite during ... See full summary »
A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red wallet he found in to the police. Nor is it that Marguerite can recuperate her wallet without being piqued with curiosity about whom it was who found it. As they navigate the social protocols of giving and acknowledging thanks, turbulence enters their otherwise quotidian lives.Written by
The Spitire is a Supermarine Spitfire PR Mk XIX, number PS 890, built in 1945. It is owned by a French collector (as of 2016) and has the French registration code, F-AZJS. Since the film was made, it has been restored to its wartime colours of RAF 152 (Hyderabad) Squadron (which served in South East Asia) See more »
The credits show considerable variation in their presentation. The first credits seen are the individual actor names with the name of the character played, in a serif font, with shadowed letters. These credits are moving left to right across the screen, fading in and out at different points, over a background of the film's name in larger letters, in an italicized serf font. After the first ten actors, there is abrupt change to a sans serif font, again with shadowed text, for both the cast/ characters list and the film title. The film title is now angled up to the right and is not in clear focus. After the names of the cast, the credits start as scrolling white text on a black background using a serif font, then there is a change to a sans serif font and then a return to the serif font. The next change is to black text on a grey background using a serif font. This then reverts to white text on a black background with a serif font, then a change to a sans serif font and then a return to the serif font. These credits do not stay in a central position, but move from side to side on the screen. See more »
As far as I'm concerned, it's been a long downhill road for Resnais since "Hiroshima, mon amour".
I just saw "Les herbes folles" at the Toronto Film Festival right after Michael Haneke's "The White Ribbon" (which is incidentally in my opinion the best film of the decade). Both films rely heavily on a narrated voice-over. In the case of Resnais's piece, it's unbearable.
Beyond this, André Dussollier's and Sabine Azéma's performances are pretty random, bursting from one emotion to another without warning. It _is_ better than hearing them sing in "On connait la chanson", but this is not saying much! At least it matches the unpredictability of their characters' actions, which is the kindest way I can say that the script is still in draft stage, abruptly changing tack several times in the course of the movie.
When the script fails, Resnais resorts to cinematic devices such as repetition, reverse direction, vignetting, and the ever-popular shrinking circle closing in on a character's head. It's annoying.
I am really struggling to say something positive about the movie. Mathieu Amalric's dead pan and humane portrayal of a desk cop is the strong point here. Both his character and performance try to lend a touch of the real world and comedy that succeeds to this otherwise random film. It's unfortunately not enough.
32 of 86 people found this review helpful.
Was this review helpful to you?
| Report this