Comedy / Drama

IMDb Rating 6.8 10 1


Downloaded times
January 10, 2022



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861.84 MB
fre 2.0
23.976 fps
93 min
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1.73 GB
fre 2.0
23.976 fps
93 min
P/S N/A / N/A

Movie Reviews

Reviewed by writers_reign 8 / 10 / 10

If It Ain't Broke ...

I bow to no one in my admiration and respect for Daniel Auteuil as an actor and I'd be hard pushed to name a bad performance I've seen him deliver but with the best will in the world he is not Raimu but having said that no actor living or dead is/was withing at least three light years of Raimu so employing that criteria Auteuil is as good as any bargain-basement Raimu out there. Auteuil's remaking - writing/directing of the great Pagnol Marseilles trilogy is clearly a labor of love. Although born in Algeria he was brought up in the Midi, Pagnol's old stamping ground and his breakout role was as Ugolin in the remake of Pgnol's autobiographical Jean de Florette and Manon de source. He dipped his toe in the water a couple of years back when he took on another great Raimu role in a remake of Pagnol's Le Fille de puisatier, which he again directed and which was well received. Once again the resident tame critic at filmsdefraance proves he doesn't know his ass from third base when he speaks of Pagnol's three STAGE plays when in fact only Marius and Fanny were adapted from plays, the third part, Cesar, was written directly for the screen in the wake of the success of the first two parts. Auteuil has opted to give the role of Marius to a pretty boy rather than an actor as Pagnol did and Raphael Personnaz is a sort of Gallic John Derek and acts about as well as Derek. Her fares better with debutant Victoire Belezt as Fanny but the revelation of the film is Marie-Anne Chazal as Honorine, the mother of Fanny who delivers arguably the best performance in the film. Jean-Pierre Darroussin whilst no Charpin was an inspired choice for Panisse inasmuch as he is a regular in the repertory company of Robert Guideguian, who inherited the mantle of Pagnol and makes excellent films with a Marseilles setting. Clearly if the original - directed by Alexander Korda - were shown alongside this remake the original would win hands down but younger viewers who have not seen - and maybe not even heard of - the original will find lots to like here.

Reviewed by richard-1787 6 / 10 / 10

There is no point in comparing it to the Raimu film

I've watched this movie twice now. It's really a very good film - but it is not at all the film with Raimu and Pierre Fresnay. Nor, I suspect, was Auteuil trying to replicate the earlier version. In the 1930s masterpiece, directed by Alexander Korda, the characters, though all very real, often border on caricature, at least the men. They are all very much bigger than life, starting with César, and including Panisse, Escartefigure, etc. That's not the take Auteuil took here. His characters aren't exaggerated, though certainly very real. You see that especially in some of the famous set pieces, like the card game and the scene where César teaches Marcel how to make a mandarin-citron. The exaggeration that made those scenes so outlandish, and so funny, in the Korda movie is absent here here. The scenes are played in a much more realistic manner. Sometimes that's a problem. Escartefigue really doesn't work as a normal human being. He just comes off as dull, nothing like the unforgettable masterpiece in the Korda film. But for the others - César, Panisse, and Marius - this approach shows us Pagnol's plays in a different light, and certainly a valid one. You have to pay more attention to see what's going on, to appreciate the fine acting. But it's worth the effort. This movie will certainly never replace the Korda film. But it offers another way of presenting these by now mythic characters, and for that I say thank you.

Reviewed by bobbie-16 6 / 10 / 10

Embalmed, rather than revived

The original version of the movie (made in 1931 and based on a play by Marcel Pagnol)told the tale of a teenage girl who is abandoned by her boyfriend when he runs off to sea and to adventures in southeast Asia; to avoid "dishonor" she resigns herself to marrying a rich old man. In the 21st century young men still dump their girlfriends, and young women still marry rich old men. But even in the 1930s, the talk of "dishonor" and the shame about premarital sex were probably rather quaint to more sophisticated viewers in France. In the remake, the quaintness of the feeling-tone overwhelms the charm and humor of the original, making the copy seem both painful and pointless. Why has Auteuil chosen to copy the movie, rather than making it come alive in new ways? The original was perfect in its own way, so what is gained by this colorized and recast new version? Auteuil's version of the bar owner cannot match the genius of Raimu's portrayal, and Personnaz as young Marius is disappointing. So the overall effect is of a kind of "wax museum" embalming rather than a lively revival.

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