Director:
Jean-Pierre JeunetCámara:
Bruno DelbonnelMúsica:
Angelo BadalamentiReparto:
Audrey Tautou, Gaspard Ulliel, Dominique Pinon, Chantal Neuwirth, André Dussollier, Ticky Holgado, Marion Cotillard, Dominique Bettenfeld, Jodie Foster (más)Streaming (2)
Sinopsis(1)
Durante la I Guerra Mundial, Matilde recibe una terrible noticia sobre su prometido Manech. Como millones de otros soldados, ha muerto en el campo de batalla... o al menos eso dice la nota oficial. Pero Mathilde no está dispuesta a creer que ese sea su destino. Si Manech hubiese muerto, ella lo hubiese sabido. En medio del dolor, Mathilde se aferra a su intuición y a la última esperanza de encontrar a Manech. Un ex sargento intentará convencerla en vano de que murió en una trinchera entre los ejércitos franceses y alemán, en compañía de otros cuatro soldados condenados a morir en los horrores de la guerra. Pero Matilde se embarca en un extraordinario viaje para descubrir la verdad. Su camino estará lleno de obstáculos, pero no tiene miedo porque todo es posible para alguien dispuesto a cambiar el destino... (Warner Bros. España)
(más)Videos (1)
Reseñas (8)
Un caos guionístico visualmente hermoso. Filtros de cámara exagerados, decorados bellos casi fabulosamente. Un contraste extremo entre la crueldad de la guerra y la ternura del amor. Por un lado, escenas potentes y atractivas; por otro, es un kitsch superficial y una masturbación de videoclip. Algunos pasajes me clavaron al asiento (la aeronave), otros me acariciaron el alma (el soplido de las cerillas) y una toma me elevó a las nubes (las vueltas alrededor del faro en dirección contraria a los niños que corrían por su mirador). Pero dejé de seguir la trama después de la primera media hora. En un género tan tranquilo, la agitada narración del director, el montaje rápido y la cámara en constante movimiento hacen que la película resulte muy contradictoria. Por no hablar de la posterior revelación de conexiones con escenas inicialmente oscuras e innecesariamente confusas. ¡No se supone que esto sea una película policíaca sofisticada, por el amor de Dios! Pero me gustó mucho de todos modos, por la energía vital y la positividad.
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I like the special atmosphere of the rotting decadence of the trenches of the First World War and the visual rendering by J. P. Jeunet is one of the best... excellent camera work, clear management of mass scenes and nice color filters. The battle sequence are just filler for the detective-love mosaic, which is again drawn only by the cute Audrey Tautou, who always uses her big eyes and smile. I was very satisfied with the chosen tone, which is relatively close to the bitter-unserious melodrama from Amelie, but in this film with enhanced undertones of the drama. The overlong engagements offer a rather interesting story, essentially tolerable main character and excellent visual processing, which only confirms the selected abilities of Jeunet's creative vision. I can't say that a melodramatic trip to the depths of war would get to me so deeply, but it slipped softly under over my skin...meaning that it stroked me pleasantly. I like it.
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Fragmentary in terms of story, perfect in terms of visuals and captivating in terms of music. In places it lacks substance and is rather long-winded, in other places it is indescribably emotionally powerful. Too bad that Audrey is stylized into her Amelie role again. Her acting talent is capable of more than just a grinning mademoiselle. Although the wartime interludes aren’t consistent with the rest of the movie, but they don’t pull down the overall high quality. The result is a crushing victory of form over content. But it’s a quality victory.
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The golden filter is removed, the titles have finished rolling, and unfortunately, Jean-Pierre Jeunet has lost his glow as a visually talented creator who knows how to handle visual tricks and ideas with sufficient wisdom. He cannot decide what genre he actually prepared for the film. From beginning to end, he constantly jumps between a war drama, a gloomy detective story, and a saccharine romance. Except that Jeunet is not Anthony Minghella, who could serve up another Cold Mountain, and instead often gets lost in the first two genres. A war film as such would probably suit him, but the occasional repetition of certain scenes can be incredibly boring, as it was during Mathilde's investigation, which at times even stops making sense. Moreover, when he tries to be moving in these two parts, it is occasionally laughable. But what he excels at is romance. As soon as a scene of the lovers' memories appears, I almost stopped breathing, just like during her desperate attempts of "I will count to seven and if..." So, I can conclude that I managed to watch A Very Long Engagement without any problems and wished for a happy ending, but I strongly dislike the form in which I received the content.
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Sebastien Japrisot’s book is quite bad to begin with. It’s a detective story told in terribly clumsy language, which presents a primitive theme in a wannabe sophisticated way of purposeful confusion, and it is therefore not surprising that the film has a similar effect. It remains relatively faithful to the source material, so hats off to those who don’t get lost in the plot chaos. The formal aspects are typical Jeunet without feeling or moderation, as his rampage (the turmoil of trench warfare is as authentic as ever) and picturesqueness (yellow-painted beauty with signs saying "kitsch!" not visible doesn't just catch the eye of the blind) meet again in an uneven whole and battle against each other throughout the runtime. The futility culminates in the moronic casting, which puts Audrey Tautou (76) and Gaspard Ulliel (84) next to each other, with the difference between them being obvious from the poster. This is a heavy misstep that, when repeated again, will in my eyes remove Jeunet from the list of the best original filmmakers.
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