Showing posts with label france. Show all posts
Showing posts with label france. Show all posts

Days of Glory (1944) Review

Days of Glory  (1944)
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Here's a film that no decent Gregory Peck fan should be without. Perhaps this is why the video is OUT OF STOCK?? Or perhaps the subject matter - The Great Patriotic War - is unpopular in these days of glory in occupied Iraq? The things that strike me about this film, apart from Peck's rawboned, wide-eyed performance (yes, his VERY FIRST) are the deep B&W photography and the treatment of children in the movie.... it's as though much of the story is seen through their eyes. Indeed, "Enemy at the Gates" owes a plotline to "Days of Glory". In fact, I am gonna go ahead and put this on my list of grand all-time war movies 'about' children, right up there with Boorman's "Hope and Glory" (similarity intentional, Bro. John?); "Come and See"; "Empire of the Sun"; "The North Star"; "Back to Bataan"; and of course "Mrs. Miniver". Perhaps YOU can add others?

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To Have & Have Not (1945) Review

To Have and Have Not  (1945)
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The summer of 1940 in Martinique as people began to choose sides is the setting for another Howard Hawks masterpiece. William Faulkner, who had adapted Raymond Chandler's complex novel for the director's other Bogart screen classic, "The Big Sleep," expanded a thin Hemingway story with writing partner Jules Furthman into another. This is sort of "Casablanca" with grit rather than gloss, and is just as enjoyable. "To Have and Have Not" does, in fact, outshine that film with its upbeat ending, and marks the real contrast between the two films, despite their similarities.
Bogart is Harry Morgan, trying to stay neutral about the local politics while he and his pal Eddie (Walter Brennan) take tourists ocean fishing in the waters of Martinique. His pal Frenchy (Marcel Dalio) wants him to use his boat to pick up a couple that will put him square in the middle of all that's going on both in Martinique and the rest of the world as the Germans make their move across the globe.
Morgan is fending off getting involved just fine until his latest fishing customer gets knocked off by accident before he can pay up. Complicating things further for Morgan is a newcomer named Marie Browning (Lauren Bacall) who sort of attaches herself to him from the moment they meet. She has come from Brazil by way of Trinidad and ends up in Martinique only because she doesn't have money to go any further. They seem a perfect fit despite all the sparring between them; a point driven home by her response to Eddie's question about bees. The viewer knows at that moment that she and Harry are a match made in Hollywood heaven.
Brennan is just terrific as Harry's old pal in constant need of a drink to keep the shakes at bay. He thinks he's looking after Harry when in fact it's Harry who's looking after him. The trademark male world of Howard Hawks is much in evidence here, as Bogart's autonomy begins to crack only when he finds his match in Bacall. Like many of Hawks' characters, Morgan lives by his own code and his own rules, and only breaks them out of loyalty to someone else. Another Hawks trademark of the sizing up of people from the inside out is also much in evidence here. Bogart and Bacall never even speak the other's name in this film: she calls him "Steve" and he refers to her as "Slim" throughout the entire film.
When Harry finally agrees to pick up Frenchy's pals in the Resistance to earn enough money to get Slim home, he gets more than he bargained for in more ways than one. It convinces Slim to stay on because she now knows for sure that "Steve" is the right guy. She gets a job singing for the piano player at the Hotel Martinique, Cricket (Hoagy Charmichael). And after a patrol boat takes a potshot at one of his passengers, his very beautiful wife begins to warm up to Harry in a big hurry, causing a bit of jealousy on Slim's part. Doloros Moran is very nice and quite pretty as that wife, Hellene de Bursac.
There are a ton of great exchanges between Bacall and Bogart here, the most famous being the "just whistle" scene. There are many others equally as good, however, including an exchange about strings that has Bacall walking around Bogart, and a great line from Bacall about walking home if it weren't for all that water. It is this latter exchange, and one other about Slim's lack of a reaction when being slapped that Hawks uses to highlight the personal baggage both Harry and Marie are bringing to the table.
A young Bacall looks gorgeous in gowns by Milo Anderson, and Sid Hickox's photography gives the film a real feel of a tiny island with palm trees lining the streets. Bogart's Harry will eventually engage in the fight when he decides he likes the people on one side and doesn't like the people on the other side. It is very much both a Hawks and Bogart type moment, the personal moral code of the anti-hero coming fully into play.
This is a fun film with great characters, lots of atmosphere, and an ending the polar opposite of "Casablanca." The song "How Little We Know" from Hoagy Charmichael and Johnny Mercer never amounted to much compared to the more famous "As Time Goes By" from "Casablanca," but works nicely with the mood Hawks created for his second film with Humphrey Bogart and Lauren Bacall. If you're looking for a big dose of Bogie and Bacall, and want the kind of ending "Casablanca" didn't have, then "To Have and Have Not" is a sure bet to please you. A fine film and a true screen classic.

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French & Saunders: At the Movies (1996) Review

French and Saunders: At the Movies (1996)
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"French and Saunders" are Dawn French and Jennifer Saunders, two incredibly talented British comedic actresses/writers. This collection of spoofs and skits comes courtesy of the BBC.
While featuring several movie spoofs ("Misery", "Silence of the Lambs", "Thelma and Louise", etc) that is not the only genre lampooned by these gifted writers/actors.
In addition to films, they also try their hand at spoofing music videos (their take on Guns-n-Roses "November Rain", with Jennifer Saunders taking on the Axl role and Dawn French that of Slash, is absolutely hysterical), fashion models, high-brow mini-series (Upstairs Downstairs), the Royals, etc.
Of the film spoofs, the "Thelma and Louise" and "Silence of the Lambs" parodies stands out, as does a priceless take on "Star Wars:Phantom Menace". The "Star Wars" spoof is part of the BONUS selections on this DVD.
With tongue firmly in cheek, these two woman break down the fourth wall barrier and often interact out of character with each other, with uproarius results.
Among other topics, they turn their sharp wit to comment on the obvious superiority of Princess Diana over Sarah Ferguson (the DVD is dated 1994, which explains why the "Star Wars" skit is considered BONUS material) and how supermodel Jerry Hall "has it all".
The skits and lampoons here are right on the money, with detailed sets reproductions and props (many an inside joke on props are peppered throughout). Details count with any parody and are much appreciated here - From the costumes, down to the uncanny reproduction of Sigourney Weaver's voice (as portrayed by Jennifer Saunders) in the "Aliens" parody.
Jennifer Saunders has a gift with voices. She does not impersonate so much as interpret nuance (as Clarice in "Silence of the Lambs" and as Ripley in "Aliens").
As for pure, comedy sketches? If anyone has ever been inundated with mail order catalogs, there is an absolutely laugh-out-loud skit which centers around two women who have obviously purchased every catalog item ever produced.
This is an excellent, funny collection and one that you'll enjoy watching and watching again. I think once you've experienced the comic talents of these two very funny women, you'll be looking for additional "French and Saunders" collections.
Note please that I believe this DVD contains different material than the VHS tape, as there is no spoof on "The Exorcist" as indicated in some of the other reviews.
A quick rundown of some topics covered : "Misery", commercial spoofs, "November Rain" music video, Princess Diana and Sarah Ferguson, Jackie and Joan Collins, "Aliens", "American Gladiators", The Mama's and the Papa's music video, "Silence of the Lambs", catalog fans, Jerry Hall, "Thelma and Louise", "Star Wars: The Phantom Menace".
For the inside-joke fan, watch for references of Dawn French and windows or panes of glass.

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Ab Fab creators Dawn French and Jennifer Saunders star in this highlights program of the best skits and spoofs from their fourth season. Includes send-ups of Alien, Misery, Silence of the Lambs, stuffy costume dramas, and of course the royals.

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The Rape of Europa Review

The Rape of Europa
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As a young man Hilter was an aspiring but mediocre painter. But Hitler's artistic ambitions were thwarted when he was not accepted into the Academy Of Fine Arts in Vienna. Many of those on the admission board were apparently Jewish and some historians blame this rejection as playing an important role in the development of Hitler's rabid anti-Semitism.
This doc begins with a discussion of the Nazi's hatred of modern art, which they considered a "degenerate" Jewish form, and their obsession with collecting classical works of art. From there the film proceeds chronologically through the German invasions of Austria, Poland, France and Russia. In each place the Nazis plundered great works of art. Some were taken into private collections, such as the vast number owned by Hermann Goering, the Nazi's second in command. Others were placed in storage, with Hilter's ultimate goal being to create a massive Fuhrer Museum in his hometown of Linz, Austria.
Fortunately, massive evacuations were undertaken at the Louvre in Paris and the Hermitage in Leningard, which successfully hid numerous works of classic art from theft by the Nazis. But it wasn't only the Germans who did the plundering. The Soviets also engaged in massive looting of German art during their raids on Berlin. Also some Italian art and architecture was destroyed by American bombing. But, to their credit, the Americans also begin sending in Monuments Men who were entrusted with helping preserve art from further destruction and confiscating the works that had being stolen by the Germans.
The film contains a mix of extraordinary archival footage with narration by Joan Allen and interviews with various art historians and others. At close to 2 hours, it is rather long for a documentary and some may find it slow at times. But with it's primary purpose education rather than entertainment, it is best appreciated by those with a strong interest in European art and Nazi atrocities. It is a very well made documentary, however, and comes highly recommeded to those with at least some interest in the subject matter.

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Item Name: The Rape of Europa; Studio:Menemsha Films

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Saving Private Ryan (1998) Review

Saving Private Ryan  (1998)
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"Saving Private Ryan" is, by all accounts, an American masterpiece and one of the premier World War II films. Its release on Blu-Ray has been highly anticipated and, for the most part, it doesn't disappoint. First of all, the transfer is every bit as astonishingly sharp as expected. I am by no means a videophile, but there didn't appear to be a single moment of artificial enhancement of the film. The print is appropriately accompanied by a slight sheen of grain whilst still retaining a high level of detail. As far as I'm concerned this is an easy five star transfer. The film runs 2:49:28 and features audio and subtitles in English, French, Spanish, and Portuguese. Prior to the menu loading are two easily skippped trailers for the "Minority Report" Blu-Ray and the long overdue home video release of "The African Queen".
There are no features on the first disc, not even a commentary track (Spielberg is well known for his dislike of commentary tracks). The special features are included on the second disc and all are presented in standard definition with the exception of the two film trailers. This is disappointing but not surprising, as it's something of an industry trend. There were no new features produced for this release, which is especially surprising considering the wealth of new high definition features that were produced for the "Minority Report" Blu-Ray. The positive side is that it pulls the features from all previous DVD editions. So even if it is all in standard definition, at least the consumer is presented with the complete special features collection. Most of the titles are rather self-explanatory, but here's a complete rundown of the features:
1) "Introduction" (2:35) - Director Steven Spielberg discusses what attracted him to this project. This would've made more sense if it was included on the first disc with the film, as most will only put the second disc in after watching the film, thus making this more of an epilogue!
2) "Looking Into the Past" (4:40) - This functions as a sort of extension of the introduction, as Spielberg discusses the influences that ultimately led him to creating this film.
3) "Miller and His Platoon" (8:23) - This feature discusses the different personalities of the principle characters with particular focus on Tom Hank's character. Spielberg and Hanks also speak candidly about their interest in World War II in general. There's some interesting on-set footage included as well.
4) "Boot Camp" (7:37) - This features the great Captain Dale Dye discussing how he helped train the actors for their roles, as well as the unique boot camp the actors participated in during production.
5) "Making Saving Private Ryan" (22:05) - A strong making-of feature which highlights Spielberg's directing style relative to the film with some outstanding behind the scenes footage. This is far better than the typical promotional fluff studios place on video releases with a "making of" label attached.

6) "Re-Creating Omaha Beach" (17:58) - An interesting feature discussing how the crew mounted the most impressive battle scene of the film.

7) "Music and Sound" (15:59) - Composer John Williams discusses how he went about scoring the film.

8) "Parting Thoughts" (3:43) - A nice bookend feature that contains bits of interview footage with Hanks and Spielberg.

9) "Into the Breach: Saving Private Ryan" (25:01) - A standard behind-the-scenes feature covering production of the film. This feels like a promotional piece that was bumpered between films on television during its theatrical run. This feature was ported over from the original DVD release of the film and is in rather poor quality (even for standard definiton). I'm definitely glad they included this, but the "Making Saving Private Ryan" feature is far superior.

10) "Shooting War" (1:28:05) - Tom Hanks (in full beard, as this was filmed while "Cast Away" was under production) hosts this feature focusing on the men who filmed and photographed World War II. This is perhaps the strongest feature here, bolstered by plenty of amazing war footage and anecdotes from veterans.

11) Theatrical Trailer in High Definition (2:16)

12) Re-Release Trailer in High Definition (2:05)
To be fair, all the features truly do look quite excellent with the notable exception of the "Into the Breach" feature. I've been spoiled on the clarity of Blu-Ray, however, so it's still something of a disappointment. Aside from that, this is by far the best release of the film yet. The print is fantastic, it's a huge upgrade over the DVD, and the features are expansive and plentiful. Highly recommended!
UPDATE 05/11/10: Apparently this Blu-Ray has been recalled because of an audio sync problem that occurs after Chapter 15 (about two hours into the film). I was aware of the claims on its release date, but even after watching my copy twice I never encountered any issues. Still, for the company to take this sort of action proves the problem is indeed legitimate, so hopefully Paramount's response will be swift and painless for those who have already purchased this product.
FOLLOW-UP 05/26/10: The Blu-Ray issue has been resolved, Amazon only offers the corrected copies for sale and all other retailers should have them on the shelves now. If buying locally, the easiest way to tell the difference is to check the backside of the Blu-Ray for a yellow UPC sticker. Also, whereas the original defective discs were grey, the new corrected copies are blue discs.

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The Snows of Kilimanjaro (1952) Review

The Snows of Kilimanjaro (1952)
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For the first time in home video history, Twentieth Century-Fox Home Entertainment has released "The Snows of Kilimanjaro" in a NON-public domain edition. Since the advent of the VCR, "The Snows of Kilimanjaro" has been resigned to crappy, public domain videos from just about every cheapy distributor around. FINALLY Twentieth Century-Fox, the original studio behind this classic, has taken it from the public domain and given it a proper home video release on DVD. If you love this fan, you can use all previous DVDs of this film for coasters for your drink as you enjoy this marvel. Completely remastered and restored, "Snows" is nothing less than a technical wonder. For years I thought the only way to watch this film was on washed out, dark and scratchy prints. No more! Twentieth Century-Fox gives us a glowing transfer, superb soundtrack and loads of extras. Included as part of the "Ernest Hemmingway Film Collection", this DVD is also sold separately, which is basis for this review. Do not hesitiate to buy this version, which currently retails for under 20 bucks. It is worth every penny! Good-bye poor quality PD DVDs, hello "Snows of Kilimanjaro" the way it was meant to be seen!

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SNOWS OF KILIMANJARO - DVD Movie

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Dangerous Liaisons (1988) Review

Dangerous Liaisons (1988)
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At first glance, DANGEROUS LIAISONS appears to be an extravagant eighteenth-century period-piece, which it is; the powdered wigs and overflowing corsets typical of the genre are all here, and the cinematography is appropriately glossy. But boiling beneath the elegant surface are the deviously twisted sensibilities of two monstrous characters--the Marquise de Merteuil (Glenn Close) and the Vicomte de Valmont (John Malkovich), a pair of schemers (and former lovers) who take pleasure in coolly manipulating and seducing those around them. The Marquise challenges the Vicomte to seduce the virtuous Madame de Tourvel (Michelle Pfeiffer), but when the latter finds himself genuinely falling in love with his intended prey, the game quickly turns fatal--with devastating consequences for everyone involved.
A period-piece? Yes, but one honed with a distinctly contemporary menace. It's rare, for example, to find a period-piece with such delicious, razor-sharp dialogue (which garnered the film an Academy Award for Best Screenplay Adaptation). It's also rare to find a period-piece that focuses primarily on sex, but treats its subject matter with so little eroticism. DANGEROUS LIAISONS is more about power and one-upmanship; sex merely serves as the weapon of choice. It's a diabolically entertaining film, a decadent one even; there's something both disturbing and enjoyable about watching the two central characters indulging in their elaborate power plays.
The performances are strong for the most part (Close, Malkovich, and Pfeiffer all received Oscar nominations), although the women fare much better than the men. Glenn Close does a magnificent job as the evil Marquise, and supplies the film with some of its most explosive moments--the scene in which she quietly utters the word "War" without batting an eyelash is chilling beyond words. I didn't completely buy Malkovich as the charming lady-killer (a small but serious flaw that undermines the whole film), but he does a fine job with what he's given. Keanu Reeves, as usual, is utterly unfathomable, even in a relatively minor part. The best performance of all is delivered by Michelle Pfeiffer; as the tormented wife, she bares every inch of her moral anguish, and the results are heartbreaking to behold. Behind the cold-blooded duo of Close and Malkovich, it's Pfeiffer who provides the emotional heart of the film, and in every one of her pained expressions lies the evidence of the very human consequences at stake.

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THE BITING SATIRE ABOUT LOVE AND LUST, PASSION AND DECEPTIONINCLUDES DIRECTOR'S COMMENTARY.

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The Chorus (Les Choristes) Review

The Chorus (Les Choristes)
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Prisons are filled with people without hope; perhaps especially prisons which house young boys. Devoid of the normal pleasures of life in which boys delight, these ruffians lead desperate, bland, colorless lives of few joys, little change, and little love. Into this drab, dreary, and harsh enviornment arrives our lovable dreamer, Prefect Clement Mathieu.
A frustrated musician/composer, Mathieu has an idea: organize this rag-tag group of troublemakers into a boys choir. Like a wildflower in the field, this group springs into beautiful song and harmonies. It also upsets a few people along the way. No good deed goes unpunished, as Mark Twain said, and this one is no exception.
Mathieu is different than the other prefects and administrator/teachers, he loves the boys and in that lies the difference.
The Chorus is a sweet, gentle, moving film. Everything about it is exceptionaly well done. Remarkable acting, writing, filming, and storytelling make this a film which lingers sweetly in the mind of the viewer, long after the credits have scrolled by.

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An inspirational story in the rich tradition of MUSIC OF THE HEART and MR. HOLLAND'S OPUS, THE CHORUS has moved critics everywhere to declare it one of the year's very best films! When he takes a job teaching music at a school for troubled boys, Clément Mathieu is unprepared for its harsh discipline and depressing atmosphere. But with passion and unconventional teaching methods, he's able to spark his students' interest in music and bring them a newfound joy! It also puts him at odds with the school's overbearing headmaster, however, locking Mathieu in a battle between politics and the determination to change his pupils' lives!

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Mr. Klein Review

Mr. Klein
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For those who have seen all of Joseph Losey's significant films, MR. KLEIN is the greatest after THE SERVANT. Some even call MR. KLEIN Losey's finest achievement. It's telling of our fragmented film culture that such an accomplished work of art remains unknown, even to many serious film buffs. For years, we had to settle for an English-dubbed, panned & scanned VHS tape. But the greatness of MR. KLEIN showed through even that medium.
Now the film is available on a high-quality DVD from Home Vision (which manufactures Criterion DVDs). The transfer is very fine, with the broad color pallette ringing out. And the widescreen aspect of the film can be appreciated by many who have never seen it look so good.
MR. KLEIN is a work of which its director should have been proud. It's intelligent, intriguing, moving, funny, and beautiful. Like THE SERVANT, it has at its center an ambiguous hero by whom one is, at turns, repelled and attracted.
This may also be the greatest acting achievement of Alain Delon. The charismatic French actor's still-stunning good looks sometimes can distract from appreciating his genuine talent. Delon probably never gave a bad performance in any film. But MR. KLEIN provides him with a wide range and depth that he is more than capable of handling. It's mostly a quiet performance, with few outbursts. Delon is required to react, which he does brilliantly at several points, or to express the meaning of scene through posture and facial expression alone. One subtle example is the scene early on, where the mistress is on the bed in the background, wondering if she should get up. Delon is seated at his desk, half-listening to her trivialities. He has far more pressing issues on his mind. The actor perfectly conveys the ambivalent, trapped situation through small body gestures and tone of voice. When he finally rises to address the mistress's concerns, his forced tone is also exactly right for the moment. Later, Delon plays Klein's mixture of desperation and arrogance with so much conviction, it's easy to forget he is, after all, acting.
MR. KLEIN is a film of rich interiors, and eye-catching, but not ostentatious, location shooting. It looks tremendous on DVD and it can leave the viewer devastated, but undeniably impressed by the genius of Joseph Losey and Alain Delon.
A trailer for MR. KLEIN is also included

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Both a thriller and a Kafkaesque dissertation on identity, Joseph Losey's Mr. Klein stars Alain Delon (Le Samorai, Le Cercle rouge) as Robert Klein-a charming and unscrupulous art dealer in Nazi-occupied France. As Jews flee Paris, Klein exploits them, preying on their desperation by buying their valuables at a fraction of their worth...until he finds his name is shared by a Jewish criminal who is a member of the anti-Nazi resistance. Klein reports this to the authorities only to find he is uncontrollably sinking into the quicksand of mistaken identity. Co-starring Jeanne Moreau (La Femme Nikita), Mr. Klein is an award-winning suspense classic that studies the ever-changing relationship between victim and oppressor.

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Indochine (1992) Review

Indochine (1992)
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This deeply felt and emotionally rich portrait of a country about to change forever is one of the most beautiful films ever made. It is elegant and opulent in its visual presentation and subtle in its human tale of heartbreak. This film has the majesty of morning sunlight on water we dare not shield our eyes from for fear we will miss one moment of its glory.
Director Reigis Wargnier has created a masterpiece of epic beauty, showing us the country of Vietnam when it existed as the French colony Indochine. He shows how and why the communist uprising was so popular and the way of life it threatened. It does not make judgements but shows the human drama and the heartbreak caused by a way of life that existed and the one that was coming to change it.
Wargnier accomplishes all this in a slow and visually stunning portrait of one family in Indochine. The story is centered around the magnificent performance of Catherine Deneuve as French rubber plantation owner Eliane Deveries, and the equally terrific Linh Dan Phan as her adopted Indochine daughter Camille. The contrasts of Eliane's cool elegance and Camille's young and sensual beauty is like a mirror for the country itself as Wargner shows the difference between the French and those that serve them.
Eliane runs her rubber plantation with the help of her 'coolies' and it appears to be her entire life except for her daughter Camille. But Eliane's cool outward elegance only masks the repressed emotions she hides from others. Her affairs have been casual and she believes indifference is the secret to surviving love. But that indifference changes dramatically as she finally falls hard for young French Naval Officer Vincent Perez (Jean-Baptiste Le Guen). She throws herself at him as he draws away and discovers she is not enough for Vincent.
There is much unrest at the class distinctions of Indochine. Eliane's Indochine is one of elegance and self-indulgence. It is a world of Fitzgerald and Gatsby. The world of the Indochene people is more severe. This film takes its time showing us all that is beautiful about the country and slowly begins to show the darkness underneath that beauty when Camille falls in love with Vincent also. Eliane is stunned beyond words but not actions as she uses her clout to have him transferred to the farthest outpost so Camille can go through with an arranged marriage to Tanh (Eric Nguyen).
But Eliane has underestimated her daughter's love for Vincent and she runs away to find him. Vincent has learned about the slave trade which provides Eliane and others like her with their workers in this remote French outpost and sees firsthand its brutality. When Camille finds him it is during the picking of these workers and a tragedy forces both to flee to a place hidden and supposedly cursed, where their love will bloom and a legend will start. There are some tender and moving moments and some true heartbreak involving a baby.
As the communist revolution grows stronger and Camille is imprisoned, Vincent will meet Eliane once more. It is only when Camille is imprisoned that she is even sure she is alive. Her long time aquaintance Guy (Jean Yanne) has been searching for years as the legend of this young beauty has grown so that everyone in the country knows the story. Once released she will be the one to help change the country forever, but not before a heartbreaking meeting with her mother and a sacrifice of love.
This film may indeed be slow but it is emotionally rich and the visual beauty of the country itself is magnificently captured. Deneuve's cool elegance is perfect for the part and her Oscar nomination was well deserved. Linh Dan Phan is wonderful as Camille as she goes from the innocence of dancing with her mother to a symbol for her entire country. There are no judgements made here. This is a human film and not a political one. This film is what a Renoir painting would be if it could leave the canvas and find our hearts. It is an impression of a country and a time rather than a clear photograph.
Those who watch this film and stay with it will be richly rewarded. Few films can make the claim to be art, but this is one. Its quiet beauty and sorrow you will not soon forget. You must see, and own, this magnificent film.

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A love triangle set in the days just before the communist uprising in Indochina. A plantation owner finds that her adopted daughter has fallen in love with the owner's secret lover.Genre: Foreign Film - FrenchRating: UNRelease Date: 21-MAR-2000Media Type: DVD

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A Very Long Engagement (2004) Review

A Very Long Engagement (2004)
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My understanding is that France has declined to submit A VERY LONG ENGAGEMENT for Oscar consideration as 2004's Best Foreign Film. I can't imagine why.
War is not glorious. Especially if you're Manech (Gaspard Ulliel), a young French soldier convicted by a military court, along with four others, of committing self-mutilation with the intent of escaping service in the front lines of World War I. The punishment is grotesque. Rather than death by firing squad, the five are forced over the top of the most forward trench and into the No Man's Land between the French and German positions - there to die by whatever bullet, mortar shell, or bomb strikes them down. The subsequent deaths of all five are attested to. Letters are sent to surviving family members by the French authorities saying their boys died in battle. This was in 1917.
Mathilde (Audrey Tatou) was Manech's fiancée when he marched off to war. She's also crippled in one leg after having been afflicted with polio at a very young age. In 1920, she's contacted by a dying survivor of the war, ex-Sergeant Esperanza (Jean-Pierre Becker), who'd been in charge of the provost detail assigned to escort the five condemned men to the front trench, as well as act as carrier of the last missive each was permitted to write home. He tells Mathilde of their bizarre fate, and gives her their last letters, which he's kept since the war's end. Using these and the veteran's story to provide clues, Mathilde embarks on a lengthy search for the truth behind Manech's death with the help of a private investigator (Ticky Holgado). Interviewing friends, family members, and lovers of Marech's four condemned companions, as well as other soldiers present in the trench, Mathilde needs to answer the question, "Is Manech truly dead?" She has no doubts; he's alive. But, the evidence is elusive and inconsistent.
As crafted by director Jean-Pierre Jeunet, A VERY LONG ENGAGEMENT is a hypnotic tale of mystery, official cover-ups, lies, misperceptions, secrets, coincidence, tenuous clues, guilt, innocence, honor, and, ultimately, love. Jeunet has created a masterpiece of special FX, lighting, unusual camera angles, split screen images, breathtaking panoramas, and visual asides. And then there are the entrancing depths of Audrey Tatou's brown eyes, in which I could happily lose myself forever. There's not been the likes of this young actress since Audrey Hepburn.
Though not advertised as such, this film is a gut wrenching depiction of World War I trench warfare. It's perhaps the best I've ever seen, especially when shown in contrast to gentle Mathilde's quest through post-war Paris and the luminous French countryside.
Astute and sardonic Mathilde, perhaps because of her affliction, is a take-no-prisoners dynamo of perseverance. No obstacle is too great that it can't be overcome. In the end, she finds ... Truth. And, if you see A VERY LONG ENGAGEMENT, you'll experience amazement, delight, and tears. For me, it's 2004's Best Foreign Film no matter what the Academy votes.

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The film is set in France near the end of World War I in the deadly trenches of the Somme, in the gilded Parisien halls of power, and in the modest home of an indomitable provincial girl. It tells the story of this young woman's relentless, moving and sometimes comic search for her fiancC)e, who has disappeared. He is one of five French soldiers believed to have been court-martialed under mysterious circumstances and pushed out of an allied trench into an almost-certain death in no-man's land. What follows is an investigation into the arbitrary nature of secrecy, the absurdity of war, and the enduring passion, intuition and tenacity of the human heart.DVD Features:Audio CommentaryDeleted Scenes:With Director audio commentaryDocumentaries:Paris in the 20'sThe Zepplin ExplosionFeaturette:The Making of A Very Long EngagementTheatrical Trailer


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The Messenger: The Story of Joan of Arc (1999) Review

The Messenger: The Story of Joan of Arc (1999)
Average Reviews:

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This is a rather irreverent and disturbing look at the life of Saint Joan of Arc. The portrayal of her early life was very good, giving her a sincerity and piety that made the child Joan an attractive character. However, once Milla Jovovich took over as the teen Joan, she became a raving lunatic. Clearly, this was no accident. She and director Luc Besson are husband and wife, and it is obvious that this is their combined interpretation of Joan.
The problem with this portrayal was that Joan was made to be appear so demented that she lost credibility as a believable character. Her belief in her voices was depicted more as mad fanaticism than unshakeable faith. Personally, I have no problem with this interpretation, since I am more apt to believe her voices were the result of an unbalanced psyche than the voice of God. The problem I have is believing that anyone, even in the 15th century, would give an army to someone who is so obviously over the edge. Moreover, it is a stretch to believe that even the most desperate of simple minded men would follow such a character into battle.
If the portrayal were just a little more balanced, with moments of piety, sincerity and lucidity, the viewer and the other characters around her might be justified in saying, `Is she divinely inspired or simply mad?' Only when that question resonates has Joan been portrayed effectively. In this interpretation there was never any question. She was clearly a madwoman. It was almost a relief when they finally did away with her.
That being said, I must say that from a technical standpoint this was a brilliantly directed film. Luc Besson has produced a compelling visual work of art. The opening scenes of young Joan running through the fields were exquisite. The battle carnage was authentically grisly and the action realistic. The costumes were wonderful and the locations and sets well chosen and well crafted. His camera perspectives gave great impact to every scene. His imagary of supernatural events was electrifying. In every regard, other than Joan's character interpretation, this was an inspired work.
Milla Jovovich gave a superb performance as Joan The Mad. Though I don't agree with the interpretation, I can't imagine such insanity delivered any more effectively. She really seemed well suited for a jacket with wrap around sleeves. In every scene she exuded white hot intensity, especially in the battle scenes. Her performance was truly tour de force.
Faye Dunaway was fabulous as the cunning Yolande D'Aragon. She was so nefarious and in control, deliciously evil and conniving.
John Malkovich did an excellent job portraying Charles VII, however he was a bit old for the part. Charles was born in 1403 and met Joan in 1429 at the tender age of 26. Malkovich has trouble passing for 46 (his actual age) no less 26.
Dustin Hoffman's minor role as the conscience was also quite well done. Unfortunately, it lost some effectiveness because he was never really put in context. Was he another of Joan's creations or an actual being? A little defining dialogue would have helped develop his character better.
This is a fine film with a fatal flaw. If the story is to work, Joan must be a beloved heroine. In this portrayal, she does not endear herself to the viewer. Contrarily, she is a disturbing and off-putting character. For this reason I rated it a 7/10, though it easily qualified as a filmmaking 9 or 10.

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MESSENGER:THE STORY OF JOAN OF ARC - DVD Movie

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