See Alceste à Bicyclette - Bande a on youtube.
See Alceste à Bicyclette - Extrait on youtube.
See Alceste à bicyclette (2013) Fi on youtube.
See Alceste à Bicyclette - Extrait on youtube.
See INTERVIEW : Lambert Wilson ALC on youtube.
See Alceste à Bicyclette - Extrait on youtube.
See Alceste à Bicyclette - Extrait on youtube.
See Official trailer Alceste A Bic on youtube.
See Alceste à Bicyclette - Making on youtube.
See Présentation du film Alceste à on youtube.
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Gauthier Valence is a successful actor. He plays in a prime time soap opera which earns him enough glory to be recognized in the roads and stores and enough cash to let him to place on scene the most ambitious production any French actor dreams about – Moliere's Le Misanthtrope. Of course he sees himself in the lead role of Alceste, but for the second role of the play, Philinte, he wants to receive the participation of his friend, Serge Tanneur, who retired a several years before in a remote corner of France, on the shores of the Atlantic. When traveling to receive his friend's (and maybe rival) participation in the production he will search not only that Serge believes that he is the one fit for the lead role, but also that in order to enroll him he will need to engage in a minigame of rehearsals, first for one day, then for the rest of the week. Did Serge really give up acting, or is he testing a minigame of power with his old mate and rival, who apparently has so various conceptions about life and acting? Who is the playwright, who is the director, who is the actor in this play? The series of rehearsals that the two actors enjoy occupy much and the greatest part of the film. I am just sorry that I did not know how necessary a role the text of Moliere plays in this film, I would have read it before, as the feelings of the two characters are often expressed by the two actors using the replicas of the enjoy and through the method they act alternatively the roles of Alceste and Philinte. It is nice how fascinating are the scenes where we see the two boys working together and confronting every other. Their role swapping is at the same time a war for control and a method of marking the differences in their approaches towards acting and towards life, it defines the relation with the another characters (yes, there are few girls in the storyline and one of them plays a relatively tiny but key role – cherchez la femme), and the complex relations of respect, rivalry and friendship between the two of them.'Alceste a bicyclette' (English game – Cycling with Moliere) directed by Philippe Le Guay is the second perfect French movie that I see in the time of a several weeks (the another one was the Allen-esque 'Dans la maison'), and the lead actor (as Serge Taneur) is again Fabrice Luchini who is also a co-author of the script. His partner is Lambert Wilson whose figure is maybe recognizable from a number of Hollywood productions, but who really gets here a nice role in the tradition of the French theater and cinema. There is some nice camera work by Jean-Claude Larrieu using the fabulous beaches at the Atlantic and the unlimited streets with the heroes riding bicycles, but most of the action takes zone between the walls of the decrepit and overpriced house where the two actors rehearse Moliere. It may be the dream of any French actor to enjoy Moliere or a enjoy turning around Moliere's texts. It is the dream of any lover of French cinema and theater to see such a film. But better come prepared. Read Le Misanthrope first!
A once nice actor, Serge Tanneur (Fabrice Luchini), has retired from the limelight, in the process becoming a misanthrope not unlike Molière's popular character. For the past three years he has lived in solitude on the Île de Ré, spending his time cycling through the windswept landscape. He rejects society so much that he refuses to connect his septic tank to the main sewage pipe network. As a result, his house stinks. (Later, after the film has been watched, this is revealed to have been a harbinger of the tragedy to come, but at this mission of the film it is comedic.) Fellow actor Gauthier Valence (Lambert Wilson), whose career is flying high, is planning a production of Molière's enjoy Le Misanthrope and wants to offer Serge, first the second role, then, after Serge's insistence that he would only enjoy the game role, the game role in rotation. Instead of committing, Serge suggests they rehearse together for the week, and Gauthier changes his plans and withdraws from his appointments and obligations for the better part of the week. Almost secluded, the two rehearse the enjoy rotating the game role among them. It is never clear whether Serge will accept, or whether he has really become a misanthrope who relishes at exposing another peoples' true or just made up weaknesses. The scenes where they rehearse together are superb ---high quality theater-in-a-movie---, the scenery is superb. The viewer is captivated, and starts to relax enjoying the star actors' theatrical performances. The movie is replete with satire to the emptiness of modernity, for example when the young pretty woman who is currently a rising porn actress (with her family's and boyfriend's approval) is revealed to have true Molière actress potential. For the greater part, it looks and feels like a cultivated bitter-sweet comedy of manners, not unlike Molière's original. But gradually then suddenly, the comedy of manners morphs into a full-blown psychological drama, as Serge is revealed to be less of Molière's charming hero and more of a modern-day psychotic intent on destructing the conventions and indeed the primary human empathy that together keep the social fabric. Gauthier is also revealed to have faults, as do all of us (quote Molière), but, unlike Serge and like Molière's character, he gradually acknowledges them (if he had not already done from the beginning), and this makes him human and in the end likable. It supports that the actor's true person naturally emits a subtle melancholic charm.Alceste à bicyclette pays tribute to France's best playwright. It pays tribute to the beauty of 17th century French language (the fact that at this writing there are no French subtitles accessible is a tribute to the inability of France's cultural bureaucracy to direct a trifle of funds where they might have the best effect). And it is a nice film in its own right. It may be acknowledged to have been a piece célèbre of a fresh cinematic genre, namely a comedy of manners gradually morphing into a psychological drama. Magnificent scenario. Superb performances by Fabrice Luchini and Lambert Wilson: this is a film based not on unique results but on theatrical acting (content and notion being conveyed by diction) and cinematic acting (content and notion being conveyed by subtle facial expressions). One gets a feeling why the Comédie Française has maintained such a keep on European high culture for so long a time. Blessed be France's cinematic industry for churning out gems like that year after year.
Philippe Le Guay has slash his movie to fit the talent of Fabrice Luchini in his 2014 Bicycling with Moliere. Luchini is hardly a household name in the US, but he is a welcome, much appreciated and feted actor in Europe from the Atlantic to the Urals. His distinctive voice is not unknown in Africa, Latin America and Asia. To give the American English speakers an concept of his talent, Luchini measures, as a classical and cinema actor, up to John Gielgud. Serge Tanneur (Luchini), after a long career in theatre, withdraws to splendid solitude in an island off the French coast. Gauthier Valence (Lambert Wilson) comes to the island to woo his mate Serge back to the scene in Moliére's Le Misanthrope, a enjoy that Tanneur has often played during his 30-year career.Valence suggests that Tanneur enjoy as vs kind the role of Philint, and he takes the plum role of Alceste, the Misanthrope. Serge at first rebuffs his friends, but Valance, a star in a successful soap opera, offers a tempting off of alternating roles, a novel concept that would guarantee the play's box-office success.And so the scene is set as the two mates personify the modern Alceste (Luchini) and Philint (Wilson) in their private relationship.And so, Serge puts Valance through his paces whilst bicycling through the high- and byways of the island. Like Philint, Valence cares for Alceste, his acerbic mate Tanneur. As the movie rolls on, it is obvious to everyone but Valence, he is not up to the central role of Le Misanthrope. Still Serge walks him through his paces, correcting his pronunciation to fit the Alexandrine metre the enjoy is written, as well as its complexities of the play. And yet, Valence muddles the script.In a closing scene, we see Luchini wearing the 16-century dress of Alceste peddling towards a cocktail party to confront Philinth whom he feels has betrayed him.And he parts company with Valance by refusing to enjoy no role but that of Alceste., thereby underscoring he is a modern Alceste who not only in a vein of irony and bitter-comic relief pointing out flaws in the human character, but also shuts out any reconciliation, not a resolution to the weaknesses of man.As the camera zooms in on Luchini sitting alone of a beach, he recites with a touch of pathos, "My hate is general, I detest all men; Some because they are wicked and do evil, Others because they tolerate the wicked, Refusing them the active vigorous scorn Which vice could stimulate in virtuous minds."
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