The World Is Your Oyster (theWIYO.com): Foreign Film Reviews

The World Is Your Oyster (theWIYO.com)

http://thewiyo.com

The World Is Your Oyster (theWIYO.com): Foreign Film Reviews

Foreign Film Reviews

Posted by Kimberly at 6/15/2008 12:08 AM

Categories: uncategorized

Jean de Florette / Manon des Sources (France)

I just watched this again for the first time in about a decade. The two films form one of the greatest epic sagas of all time. The films rival the Godfather trilogy as one of the best movies ever made. Some similarity with the Godfather can be found in scope and style and score (although not in story).

Claude Berri makes fantastic use of subtle foreshadowing and symbolism to haunt us with a sense of impending doom, though we can't help but succumb to Depardieu's contagious enthusiasm.

Note how big a role water plays in almost every aspect of both films.

At first viewing, you might despise the actor who plays Galinette Ugolin for his boorish look, his simple mind and his twisted thought process. However, watch some of Daniel Auteuil's more recent work such as Cache and Apres Vous, and you'll agree he's a thespian genius. Depardieu is at his best in Jean des Florrette. Emmanuel Beart got her first major film role as the teenage Manon (she later married Auteuil and starred in Mission Impossible).

Jane Eyre (United Kingdom)

There are twenty theatrical and television versions of Jane Eyre; I've seen five and recommend this as the best.

The use of relative unknowns in the lead roles works well, and their performances are first rate.

The direction and screenplay subtly but effectively create the elements of foreshadowing and muted tension that make such Victorian period pieces come to life.

The film has you rooting hard for Jane and Edward, which is exactly the point.

Lemming (France)

I was immediately caught up and remained intensely involved to the last frame. I found the suspense scenes riveting. A dash of David Lynch in the middle and some Hitchcock sprinkled throughout make this a rather unconventional French film.

Charlotte Gainsbourg is as sensual and sweet as ever. She does act a bit strange for a portion of the movie, but this is all implicitly explained later on. Contrary to other reviewers, I did not find it difficult to separate what was real from what was not. There was adequate explanation for everyone's actions. However, one must accept a paranormal premise in order to follow all of the twists.

Love Actually (United Kingdom)
This movie attempts to include every cliche from every romantic comedy ever made, particularly those starring Hugh Grant. And, as with most modern romantic comedies, relies heavily on scenes involving spontaneous, often bad, singing. Did that sound like I didn't like it? I gave it four stars because I'm a sucker for romantic comedies.

The Widow of Saint-Pierre (France)

This is a beautiful French film shot in Canada, with sterling performances by Juliette Binoche and Daniel Auteuil.

When the movie starts, the story is stark and simple. seemingly mimicking the cold and unforgiving setting of the Canadian Northeast. As the film progresses, the hidden beauties of the landscape are revealed slowly. The cinematography at the end is positively stunning. Similarly, the relationships and idiosynchrasies of the lead characters are developed in a patient and methodical way, revealing unsuspected depths of character.

The emphasis is on compassion, integrity, loyalty, responsibility and unlikely, yet controlled, passion and obsession. It becomes one of the rare films to concentrate more on character's motivations than on their actions.

The film's title, along with an initial glimpse of the ultimate outcome burdens the viewer with a foreshadowing of an unhappy ending. This only adds to the bittersweet, but incredibly deep, investment one makes in the story and characters.

Le Petit Lieutenant (France)

Now here's an unusual French film: a detective story complete with autopsies, stabbings, shootings, DNA matching, investigative work, internal affairs, you name it. It was a good film, but it's hard to rate it more than three stars since this genre is certainly done a lot better and more frequently by Americans.

It was about the equivalent of watching a couple old episodes of CSI, but with subtitles.

My Mother's Castle (France)

What a fun and fanciful romp through Provence with an endearing and credible family. Adapted from a novel by Marcel Pagnol, telling his memories of his own childhood and beautifully rendered as a film with Jean Pierre Darras providing superb narration. Pagnol is most famed for penning the novels Jean de Florette and Manon of the Spring.

My Mother's Castle is actually the sequel to My Father's Glory. The film is absolutely fine on its own though if you don't care to watch the prequel first.

After the Wedding (Denmark)

Susanne Bier, writer and director of the Danish film, After the Wedding, believes in telling stories loaded with truth and emotion. The story is compelling enough to hold one's interest throughout, but it's the acting that really captivates. The performance given by Sidse Babett Knudsen as the mother was possibly the best female acting I have ever seen. The woman could go from positively soft and endearing to terrifyingly harsh and cold-hearted without skipping a beat. There were several scenes where I found myself so caught up in her performance that I had to remind myself I was watching a film. Stine Fischer Christensen as Anna, Rolf Lassgard as Jorgen, and Mads Mikkelsen as Jacob were also very believable in their respective roles.

Watch the short inteview with Susanne Bier on the DVD's special features. She reveals some of her process and insight in creating a masterpiece like After the Wedding.

This movie evokes emotion and forces you to care about the characters with not one ounce of Hollywood heavy-handed manipulation. For the most part, the utter realism of the story, acting, and direction made me feel almost voyeuristic having such an intimate inside look as this family struggles with life-defining challenges.

The Lost Son (France / UK)

Intense crime drama follows one man's pursuit of some really despicable characters. It becomes personal when they go after one of his dearest friends.

Daniel Auteuil is a special actor; this is the first English language film I've seen him in (and possibly the only one he's starred in). His English is not great, and his voice sounds much better speaking French, but because he does not try to do more than he can with the language, this does not create an insurmountable problem in the film. I have yet to see him in a role in which he does not perform at five star quality. He is one of those rare actors, like Deniro, Pacino, and Cage, who can be so versatile in so many varied roles, but is still distinctly recognizable.

Natassja Kinski and Marianne Denicourt are excellent in small supporting roles.

My Best Friend (France)

All eight movies I've seen with Daniel Auteuil have earned 4 and 5 stars from me. He's shown some acting chops to so convincingly play both a despicable villian in Jean de Florette and a gallant, devoted officer in The Widow of Saint Pierre.

In My Best Friend, Auteuil evokes a bit of both the good and the bad in portraying a somewhat confused and selfish man searching for the definition of friendship. Dany Boon plays a very Tony Shalhoub-like trivia buff who has his own problems making friends. Together the two men form an entertaining and quite watchable pair.

In a very clever twist, the movie contains a lengthy segment where Boon's character appears on the French Who Wants to Be a Millionaire. What better than the 'Phone a Friend' lifeline to put a friendship to the test?

The movie is mostly entertaining with the warmth of a romantic comedy. As I've said before, the French use cinema primarily as a means of exploring and evaluating human relationships of all kinds. This, like so many other French films, wryly steers clear of the predictable and formulaic, and strives to touch the viewer with both emotional and intellectual stimulation.

Un Couer En Hiver (France)

Un Coeur en Hiver (loosely translated: A Heart of Stone) features a great performance by French beauty Emmanuelle Beart. You may be pleasantly surprised to see how well she plays the violin. Daniel Auteuil is thoroughly believable (if not slightly off-putting) as the ultimate 'afraid of commitment' male.

While watching this film, keep in mind that Beart and Auteuil had been in several movies together already (most notably, Manon of the Spring) and were probably living together when they made this; they ended up married the year this movie was released. They had a daughter together, but the marriage only lasted three years.

The emotion in this film is palpable. The chemistry between Beart and Auteuil, even when it's negative, is obvious.

The supporting cast does a fine job, and the violin performances add some tangible uplift to the overall somewhat disheartening plot.

If you're like me, you'll be waiting for someone to grab Auteil, slap him hard, and ask "What is wrong with you? this woman is incredible!!!"

Monsoon Wedding (India)

A colorful, joyful celebration combining Indian and Western cultures. I was not thrilled at the inclusion of a few heavy-handed subplots; it tended to take away from the lighthearted whimsy at the center of the story. However, I very much enjoyed the frequent scenes blending ancient Indian traditions and culture with what is obviously becoming a very Westernized modern nation.

As often is the case with Indian movies, color, water, and luscious cinematography play a big part in portraying the story.

Innocence (France)

The French working title for the film translates to The School. Odd that they'd rename it as Innocence, although fitting I suppose since the girls wear all white all the time and frolic in the woods and swimming holes without a care in the world. As they grow older they draw nearer to the end of innocence: the release into the outside world.

The film is a surreal fantasy. To try to understand it as anything else will certainly limit your enjoyment of it. If you wish to interpret it as something tangible, you will spend the entire movie wondering why the first scene shows a girl arriving at the school in a coffin. No explanation is given, and if you view the film as total fantasy, none is needed. If you intend to watch this film, sit back, relax, empty your mind of expectations, and enjoy the beautiful cinematography and the lighthearted innocence of young girls in the woods.

Good news for folks with subtitle-phobia, dialog in this film averages about three words a minute.

The Butterfly (France)
This is the third French film I've seen this year about an elderly person bonding with a young child. I guess the French are all about interpersonal relationships. This one has some great performances. Michel Serrault as the old man is perfect, as is Claire Bouanich as the precocious 8 year old girl. Fine for the whole family (as long as you can all understand French or read subtitles).

Dirty Filthy Love (United Kingdom)

This is a difficult movie to want to watch. I had it at home for a month before finally watching it. But my wife and I were both glad we did see it.

It is extremely well done. Michael Sheen's performance is Oscar caliber.

However, I do not agree with this movie being billed and promoted as a romantic comedy. Although there are some light-hearted moments, the movie is nothing but serious. It is a quite sad look at the pain and anguish caused by mental illness, not just for the victim of the illness, but also for family, friends, and colleagues.

The DVD includes the original trailer for the film which promotes it like it's the latest Hugh Grant romantic comedy, with quotes like "Savagely Funny" and "Outrageous Comedy". This "comedy" moved my wife to tears on several occasions.

Wuthering Heights (United Kingdom)

I had anticipated a romantic tale of passion and was surprised to find a somewhat brutal film about relentless obsession, cruelty and violence. Heathcliff's character was quite cruel to everyone he came in contact with, treating women with contempt and physical violence. Catherine was flighty and unconcerned about the abuse, mistreatment, even physical violence sustained by her supposed true love at the hands of her brother. She even took part in the mockery of him.

It was hard to see the forest (romance) for the trees (contempt and cruelty). I give it three stars for the fine performances from Juliette Binoche and Ralph Fiennes.

Truly Madly Deeply (United Kingdom)

As a longstanding Rickman fan, I had high hopes for this film. However I was disappointed by the casting of Juliet Stevenson. After really enjoying her performance in The Politician's Wife, I believe the problem with Truly, Madly, Deeply is that Stevenson is not convincing (for me) in such a frivolous role. Her laughter grated on my nerves and was barely distinguishable from her crying (although when she cried, her nose ran effusively, which gave a clue at least). In any case, she was shrieking, crying and laughing hysterically for much of the movie, and it made me feel sorry for the cast and crew.

On an up note, Stevenson is superb in The Politician's Wife which has little crying and even less laughter. Also, Minghella's Breaking and Entering (Jude Law, Juliette Binoche, Robin Wright Penn) is one of the best film's I've seen in some time.

Mademoiselle (France)
I would not recommend this to anyone who doesn't like French films a lot. It's a nice story with the requisite affair, although done with the least amount of sexuality I've ever seen in a French movie. My wife almost lost interest in the first half hour, I almost lost interest in the last half hour. But we both made it all the way through and agreed upon a three star rating.

The Golden Door (Italy)

Some good and bad here — the perfect three star movie. The intro by Martin Scorsese was unexpected and intriguing.

Charlotte Gainsbourgh was cast against type as an English woman attempting to immigrate from Italy to the U.S. It seemed they almost wrote her into the script after it was finished.

I'm still not sure how I felt about the bits of whimsical fantasy interspersed here and there. I think the movie was just a bit too heavy to support that kind of leavity.

In the end, a good story directed and performed well is hard to dislike.

Swimming Pool (France)
This film suffers from trying to be a little too oblique. There are several sequences that may or may not be dreams/fantasies. There's a character who may or may not be real. There's a little person. But I gave it three stars because it's entertaining, it has a lot of lovely French countryside, and it features a beautiful French girl.

Night Sun (Italy)

Natassia Kinsky and Charlotte Gainsbourgh add a bit of feminine beauty to this dark and disturbing saga.

It was not difficult to understand what was happening in the story, but it was extremely hard to justify the actions. Seemingly arbitrary decisions that went against common sense made it difficult to become invested in the main character. A quite unsatisfying ending added to the disappointment.

But with all that said, the movie's excellence in cinematography, acting and direction made it hard to consider a waste of time.

Fear and Trembling (France)

I was not pleased with this movie. I found it exaggerated and embarrassing, not to mention dull. The Japanese people in the office are all caricatures of real people with no developed personalities.

I did not empathize with Amelie. It was hard to understand why she continued her experiment when it had so obviously failed. The only explanation I could see for her cleaning toilets for seven months was that she was planning to write a book about it later.

I felt the screenplay came across a lot like a novel; unfortunately the sarcasm and wit didn't play as well on screen as they may have in printed form.

A very long and tedious portion of the film has to do with Amelie's complete inability to use a calculator or copy numbers. Perhaps persons who share this affliction might relate, but I found it slightly incredible and certainly not interesting.

Amelie's borderline sexual infatuation with her female boss was confusing and tangential.

Finally, the fact that the entire film was shot in an office building, combined with the fact that there was only one character that was developed in any form, made this movie a very frustrating and tedious experience.

To Be and To Have (France)

I didn't get it.

I found this movie to be unbearably slow. It was definitely the least informative documentary I've ever seen. There is no narration, and there are many minute-long or even longer cinematagraphic tangents of trees, snow, animals, etc.

My children attend a French-American school in California, so I was hoping to gain a little insight into the French educational system. This movie did nothing more than show one man's country classroom and the surrounding idyllic pastoral environment. Granted, the man was a superbly patient and understanding teacher, but I really didn't learn anything by watching. I fast forwarded a lot towards the end.

Private Property (France)
The film asks more questions than it answers. You're left knowing less at the end than you knew at the beginning. The performances were quite good, and the premise was promising. However the lack of resolution to just about every conflict and relationship introduced in the film left me feeling a bit frustrated.