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The Lady and the Duke (Eric Rohmer) France, 2001. Saturday March 20, 2010

Director: Eric Rohmer
Country: France
Year: 2001
Length: 125 '
Cast: Lucy Russell (Grace Elliott), Jean-Claude Dreyfus (Duke of Orleans), François Marthouret, Cobiant Léonard, Caroline Morin, Alain Libolt, Héléna Dubiel, Laurent Le Doyen, Serge Wolfsperger, Daniel Tarrare, Charlotte Véry.
Screenplay: Eric Rohmer. Based on the novel "Ma vie sous la révolution" Grace Elliot.
Producer: Françoise Etchegaray.
Music: Jean-Claude Valero.
Photo: Diane Baratier
Editor: Mary Stephen.
Costumes: Pierre-Jean Laroque. Sceneries
: Antoine Fontaine.


Synopsis

The Lady and the Duke is based on the autobiography of Grace Elliot (Lucy Russell), former lover of the Duke of Orleans (Jean-Claude Dreyfus) in the time of the French Revolution. Suspected of being a British spy, Grace, through its optical monarchy, portrayed the historical evolution of a troubled Paris for the scene of blood and death that followed the outbreak of revolution.

Painted Reality

The French Revolution globalized freedom and equality, launched as "discover" a continent and set the pillars of the polymorph and brittle structure that has been (that is) modernity. But from the beginning, he sacrificed the third prong of the revolutionary ideal. The fraternity is not assimilated or been assimilated for now never as political aspirations. Just a few technological steps separate the guillotine of the electric chair.

Eric Rohmer risk their popularity to denounce The Lady and the Duke , which reviews the legendary revolutionary episode from an uncomfortable view: their aristocratic victims. Sale and veteran French director (81 years, more than thirty films) of the brilliant and authentic universe of contemporary Paris appointments with nearly a quarter century after his last re-enactment, Perceval le Gallois (1978). And it does translate to the movies almost verbatim memories of Grace Elliot, Scottish lady who lived in Paris during the bloodiest years of the Jacobin government of Robespierre, convinced royalist lover while the Duke of Orleans, a revolutionary political scheming.

Beyond the controversy that has been able to raise the question Rohmer popular triumphalism with which it has always evoked this landmark of French nationalism (and all subsequent liberal tradition), The Lady and the Duke mostly has an exceptional interest in form. To recreate the Paris of the late eighteenth century, Rohmer has rejected any show of loyalty restoration. Commissioned a painter of landscapes and a series on the fund, which of course recognize the romantic iconography of the period, inserted the actors in a process equivalent to running "empty", as used by the film in years 30 and 40 and much improved now by the possibilities of digital image processing.

Crest Whitening Strips Receding Gum

KONTROLL (Nimrod Antal) Hungary, 2003. Friday, March 5, 2010.

Jim Adler
Escrita por y por Nimrod Antal
Editada Stephen Sandor Csanyi
...... Zoltan Bulcsú
Mucsi ....... Professor Csaba Pindroch
.... Muki Badár Alexander ..... Ratatouille
Zsolt Nagy ............ Tibi Bence Mátyási .... Bootsie
Defeat
Szabo ........ Eszter Balla Shadow ........ Sophia


La historia de la película El argumenti Elegante es en su simpleza, centrándose en un Equipo de Cinco "controladores" del metro de Budapest, cuya lab consiste en comprobar que los pasajeros los billetes apropiados tenge. Estos controladores no disfrutan the public's respect, and therefore are constantly tense or frustrating situations. And to make matters worse, their bosses are concerned about the high number of suicides that have occurred recently in the metro, but Bulcsú (Sándor Csányi), a smart driver with a mysterious past, suspects may not be actually suicides, but crimes a mysterious figure who pushes passengers on the road ... Comment


While the synopsis may sound like a depressing drama about the lower classes of Hungarian society, actually, "Kontroll" has many elements of comedy, mystery and dreamlike tone reminiscent in some times the work of David Lynch, but with a much more biting humor and enthusiastic. In fact, if one were to make comparisons, we would say that "Kontroll" is similar in tone and style with "After Hours" by Martin Scorsese. The argument is completely different, but both evoke particular mental state that confusion and lucidity combined in equal proportions, showing the world in ways both mundane and complex, with an ethereal hue that can quickly change between pleasant dream and nightmare. But ultimately, the best of "Kontroll" is the portrait of a subculture that, being isolated from society "normal" begins to transform the special situation, adapting to the circumstances and creating situations and customs that may be foreign to the rest of the population, but that somehow works in his particular universe. "Kontroll" is a film of many levels, and while we laugh with his quirky characters and thrill us with its action scenes (like a tight race at the railroad tracks), we can also ponder the possible interpretations that may have the film, made entirely in the Budapest underground. And as participants for a moment that cold, dark world, perhaps we can appreciate more our daily existence, or at least understand the reasons of those who repudiate. From a technical standpoint, the film is outstanding. Perhaps it may seem a victim of its limited resources, but in reality the film and the severe cold locations add an air of realism that contrasts and highlights the surreal tone of the film, which is accentuated with advancing the plot, so that when it the end we're not sure if we're seeing the "reality", or a dream of the protagonist, or simply a beautiful visual metaphor that the director has chosen to end the story of a sad but hopeful. "Kontroll" is a rare and exhilarating film experience confidently walking on that fine line between human drama and morbid comedy, succeeding in both fields, but without committing none. The work of the actors is brilliant and the direction of Nimrod Antal is firm and full of energy. Especially recommended for audiences, such as this CineClub Imaginary , tired of the hackneyed formulas of contemporary cinema.
(Based on a review of Pablo del Moral)

trailer of the film: