See Marius et Fanny - Bande-annonc.
See Marius - extrait.
See Marius 1931 contre Marius 2013.
See MARIUS AND FANNY - Official UK.
See La Trilogie Marseillaise - Mar.
See Marius / Fanny - Bande annonce.
See Marius 2013.
See Marius Babanu - Esti departe [.
See Marius Babanu - Adio - 2013.
See Marius Neset Quartet - Golden .
About: Jan-Erik Widgren meets the lonely Bertha Olsson, a girl struggling with alcoholism. Though Bertha is already linked to Caligula, Jan-Erik's heartless teacher, she starts a relationship with the man anyway. When Caligula learns that Jan-Erik is having an affair with Bertha, he starts to torture his student psychologically. He reserves his cruelest behavior for Bertha, however, which effects in a tr...
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About: Fifteen short movies with socio-economic topics matter by 15 directors of Malaysia's "New Wave" and "No Wave." 15Malaysia is a short movie project. It consists of 15 short movies made by 15 Malaysian filmmakers. These movies not only deal with socio-political problems in Malaysia, they also detail some of the best-known faces in the country, including actors, musicians and top political leaders. ...
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I've watched this film twice now. It's really a very nice movie - but it is not at all the movie 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 popular set pieces, like the card minigame and the stage where César teaches Marcel how to create a mandarin-citron. The exaggeration that made those scenes so outlandish, and so funny, in the Korda film 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 various 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 film will certainly never replace the Korda film. But it offers other method of presenting these by actually mythic characters, and for that I tell thank you.
Who does not know the trilogy of Marcel Pagnol? Who does not know Marius and Fanny as well the novels as film of the same creator for Marius and d Allégret for Fanny? In a decadent time, full of films of gratis violence, full of empty movies, a zone which expresses the vain hero of our century, the help on sure values is also on the agenda because it establishes an existential relief and a nice suggestion for our culture. Daniel Auteuil, a Large actor of the French cinema is the director of a proofreading of Marcel Pagnol, a success of the French cinema. He thus made two films Marius and Fanny, two masterpieces. These fresh versions reach the lvl of the film of Pagnol and overtake well the film of Allégret while respecting hero of these novels. Fanny is clearly better than Marius. We feel an evolution at the actors who reaches the excellence. We here is thus in Marseille of between two fights a town which has its charm and heroes who have a easy and often pure character. The dialogs are dense but thanks to their simplicity are available to everybody; nevertheless the lvl is raised brought up well and their contents carry solid values, even if sometimes they seem to us outmoded. In the fact which is happier? The boy of our days or the person who corresponds to the characters of Marcel Pagnol? This is not a part of our critic, but the film can remind us these questions. All the actors very well played in this movie, but we have to underline the presence of Daniel Auteuil and Jean-Pierre Daroussin who understood well the universe of Pagnol. A tiny defect: in spite of the efforts, even if the actors knew how to speak with the accent of Provence, is missing the intonation or the prosody to speak it. It is about a method of speaking melodious such as we search in Marcel's film with pretty images. The film Marius constitutes a fresh proofreading of this work which corresponds to all that the warned spectator or not can expect from this work. Even if the proofreading of an older masterpiece is difficult, this realization is made a success well; because Daniel Auteuil respects Pagnol by recognizing his genius and he also respects his spectators
I bow to no one in my admiration and respect for Daniel Auteuil as an actor and I'd be difficult pushed to name a terrible performance I've seen him deliver but with the greatest will in the globe he is not Raimu but having told that no actor living or dead is/was withing at least three light years of Raimu so employing that criteria Auteuil is as nice as any bargain-basement Raimu out there. Auteuil's remaking - writing/directing of the nice 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 makeover 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 other nice Raimu role in a makeover 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 cute man 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 movie is Marie-Anne Chazal as Honorine, the mother of Fanny who delivers arguably the greatest 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 perfect movies with a Marseilles setting. Clearly if the original - directed by Alexander Korda - were shown alongside this makeover the original would victory hands down but younger viewers who have not seen - and maybe not even heard of - the original will search lots to like here.
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