Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p19

18/04/2015 03:42 par tellurikwaves

Trivia

When casting Jodie Foster, Jean-Pierre Jeunet met her in Paris at the café which was used to shoot the scenes in Le fabuleux destin d'Amélie Poulain (2001) which is near where he lives. Some tourists were at the café, knowing it was featured in the film, asked Jeunet and Foster to move out of the way (not recognizing them) so that they could take a photograph of the café.

Jean-Pierre Jeunet met Jodie Foster as she was supervising the dubbed version of Panic Room (2002). The main roles were already taken but Jodie Foster agreed to star in a little role, as Elodie Gordes. She speaks French fluently, so she acted with her own voice.

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Tina Lombardi's execution scene is directly inspired by the real film of the last public execution in France, Eugen Weidmann's in 1939.

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When Mathilde interviews Tina Lombardi (played by Marion Cotillard) about the murders she committed, Tina responds, "Je ne regrette rien". This is also the title of a famous song by Édith Piaf, who was played by Marion Cotillard in La môme (2007) three years after this film.

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Jean-Pierre Jeunet originally wanted to cast Dominique Pinon as Germain Pire the private eye and Ticky Holgado as uncle Sylvain. However, Holgado had been diagnosed with cancer and the studio refused to insure him. Therefore, Jeunet decided to switch the actors and did not regret his decision afterward. As Holgado became more and more ill, he began to have trouble concentrating and remembering his lines. Jeunet prepared a rough cut of the movie for Holgado to see, but Ticky passed on before he could do so.

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Disqualified to compete in the prestigious Cannes Film Festival because it was shown outside its country of origin, regardless of the fact that a Paris court ruled that the movie was too American.

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At the point where Mathilde is asked either by her uncle or her aunt about the fate of Manech, she responds that he might be held prisoner by the Germans, then he escaped and met a German woman with large breasts. This could either be a reference to La grande illusion (1937) or to La cuisine au beurre (1963).Mmm je dirai La vache et le prisonnier plutôt

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A Paris court ruling prevented the movie from receiving State financial aid reserved to French movie production companies because it was produced by a company owned by Warner Bros., hence not a French company.

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The mournful tune that Mathilde plays on the tuba is "Aase's Death" from the Peer Gynt Suite by Edvard Grieg.

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Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p18

18/04/2015 03:33 par tellurikwaves

External reviews

• rogerebert.com [Roger Ebert]
• Guardian/Observer
• ReelViews [James Berardinelli]
• BBCi - Films
• BBCi - Films (DVD review)
• Los Angeles Times [Carina Chocano]
• Rolling Stone [Peter Travers]
• Salon.com [Charles Taylor]
• San Francisco Chronicle [Ruthe Stein]
• PopMatters
• Urban Cinefile (Australia)
• FlickFilosopher.com [MaryAnn Johanson]
• 16mm Shrine
• A Nutshell Review
• About.com - DVD Review [Ivana Redwine]
• About.com [Marcy Dermansky]
• Abus de ciné [Guillaume Bannier] (French)
• allesfilm.com [Gisela Säckl] (German)
• Are You Screening? [Marc Eastman]
• Austin Chronicle [Kimberley Jones]
• Ben Russell, [The Movie Man]
• Best Movies by Farr [John Farr]
• Beyazperde.com (Turkish)
• Beyazperde.com (Turkish)
• Blu-ray.com [Dr. Svet Atanasov]
• BobaFett1138.blogspot.com [Frank Veenstra]
• Boy Meets Girl review (Dutch)
• Captain Charismas Filmblogg [Tom Kleppe] (Norwegian)
• Celluloid Dreams (German)
• Choices Cologne [Frank Brenner] (German)
• Choking on Popcorn; Sweet & Salty Movie Reviews
• CHUD.com Review [Micah Robinson]
• Cine Players [Andy Malafaya] (Portuguese)
• Cine Visiones [Miguel Cane] (Spanish)
• cine.ciberanika.com (Spanish)
• CineBazar (Italian)
• CineClick (Italian)
• Cineclub-Filmkritik (German)
• Cinefilos.it [Fabrizia Gagliardi] (Italiano)
• Cinema Blend
• Cinema2000 (Portuguese)
• Cinemagazine [Henny Wouters] (Dutch)
• CineScene [Howard Schumann]
• Cinestrenos [Antonio Ruiz Valdivia] (Spanish)
• Cinopsis (French)
• Close-Up Film [Elizabeth Hyder]
• Combustible Celluloid [Jeffrey M. Anderson]
• Common Sense Media [Brian Costello]
• copacetic zine review
• Corn Pone Flicks film reviews
• critic.de (German)

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p16

17/04/2015 17:53 par tellurikwaves

 lien vers toutes les reviews
http://www.imdb.com/title/tt0344510/reviews?ref_=ttexst_ql_op_3

*

Simply great

Author: crushingaflood from Portland, OR (USA)
31 December 2004

Well, I've never written an IMDb review before (though I read them all the time), but I feel compelled to write one now.. And don't worry, I won't give any spoilers or mention anything which will ruin the movie in any way. I hate when people do that.

This movie is PURE POETRY. I'm not going to claim I'm some great movie buff although I've seen a fair amount of movies, mostly independent and foreign, but "A Very Long Engagement" is one of the best I've ever seen. The whole film has a very dreamlike aura to it and the colors are great. The only other Jeunet film I've seen was Amelie, and while that movie is one of my favorites, this one is right up there with it.

The subject matter here isn't my forte by any means. Honestly, when I read the comparisons to "Saving Private Ryan", I winced a bit. SPR is a great movie, no doubt, but it's just not my cup of tea. What makes this such a strange paradox is that the war scenes in "A Very Long Engagement" are possibly even more graphic and outrageous than those of SPR, but it works just because Jeunet adds his surreal touch to everything. Of course, I would certainly call this a romance themed movie much more than a war themed movie, but it blends everything very smoothly and naturally. It is a film both men and women will enjoy equally. You really have to see this movie. I mean, I was simply floored. The two and a half hour playtime flew by, not a single dull moment in the entire film.

A few things: Someone mentioned earlier that this movie starts off by throwing out a lot of names and it can be very confusing if you, like me, aren't the best at remembering all these names (especially French names), but it seems the director figured that this confusion might occur so as the movie progresses it's almost impossible to not eventually remember who is who because we are reminded so often (especially with flashbacks) of who is who. It's really not a big problem at all, just try your best to remember the names and which faces they belong to.

Another thing, I found it sort of hard to really care much about the relationship between the two main characters at first simply because Audrey Tautou's character is all alone wondering about her fiancé, but as the movie goes to periodic flashbacks of the two in youth, then in their teenage years, I saw so much beauty in it all. And the way these scenes unfold are incredibly spellbinding... Easily putting anything from Amelie to shame. That's another point I wanted to make. Jeunet's style seems so much more natural and mature here as compared to the somewhat forced 'weirdness' (or quirkiness) of Amelie. This is such a masterful film. If I hadn't seen the last showing of the night I would have seen it again tonight.

The ending was mesmerizing, paralyzing, and when the credits came on not a single person even got up for a few minutes. I left the theater and walked around downtown just thinking about it all. I can't say enough great things about this film. I cannot wait for this to come out on DVD.

And in the event Mr. Jeunet sees this, thank you! Truly a film I'll think about for a long time to come, and one I'll be recommending to everyone.If you're looking for a full length, meaty film to sink your teeth, heart and brain into for a night and walk out of the theater feeling completely full and satisfied, this is the film. I've read IMDb for years, but this movie was enough to make me register and post my first review. Think about it.

*

Author: boboloco from manhattan
5 December 2004

This movie is better than "Amelie" (which I loved). The story is intricately plotted so people with a "Seed of Chucky" attention span will be overwhelmed. It must be the only movie to combine amazing combat scenes with romance, comedy and a complex mystery puzzle. Audrey Tatou is a goddess. Jeunet (the director) is like a combination of Chaplin (the romance and comedy); Hitchcock (the incredible camera work and storytelling); and Spielberg (the battle scenes and emotion).

As to some of the comments I have seen on this site:

There were French people complaining that people were speaking too fast. Gee, I don't speak French, but I can read subtitles just fine, so it was not a problem.Some people complained that it was too long. Then there were people that complained it was too short. Like Goldilocks, I thought it was just right.There were those that said that Tatou can't act. Audrey's performance was nuanced people, she's no Jim Carrey. Some said she was just playing Amelie again. Wrong. Amelie was a good-hearted but wishy-washy spirit who was afraid to take any action in her own life. Mathilde is just the opposite, somebody who believes so strongly in her convictions that she is able to follow what her heart tells her in spite of all available evidence and every single person she meets. In fact, every actor, no matter how small the role, turns in a great performance (I'm especially partial to the great Dominique Pinon, who plays Audrey's uncle).

There were complaints about the sex. There are a couple of brief shots of people having sex in the introduction, very similar to Amelie. Plus you get to see Jodie Foster doing the nasty from several directions. If that bothers you, go see Polar Express instead. Personally (especially in light of the rumors of Jodie being a lesbian) I am in favor of the sex scenes. There is also a shot of Audrey's fabulous naked booty, which justifies the price of admission all by itself.

Someone else complained that it was too jarring switching between the horrific WWI trench warfare scenes and the idyllic 1920s Paris. Argghhhh, that's the point!Then there was the complaint about seeing a scene or shot from a different perspective later in the movie. Have you heard of a story called "Rashomon"? The idea is that you are experiencing the events from the viewpoint of different characters. This is cleverly done and never superfluous. At least one time you are quite startled by new information revealed by that shift in perspective.

All in all, this is a movie that really does have everything. If it were an American movie it would win best picture, best actress, best supporting actress (Jodie still might get nominated), best cinematography, best script from a novel, and best director. As it is scheduled for a Christmas national release, hopefully a lot of people will see it.

*

Author: Ralph Michael Stein (riglltesobxs@mailinator.com) from New York, N.Y.
21 December 2004

Director Jean-Pierre Jeunet in the hit, "Amelie," employed scintillating Audrey Tatou, the most expressive young French actress in film today, to portray a whimsical and charming girl-woman in search of love. With her now as a young French rural ingénue searching for years after The Great War (aka World War I or, even better, The War to End All Wars) for a probably killed fiancé, Jeunet crafted a moving, often penetrating story centering on the charnel carnage of trench warfare.

Lame as a single-digit-age child because of polio and living with relatives who took over after her parents were killed in an accident, Mathilde is befriended by Manech (Gasparad Ulliel). Mathilde, a loner separated from her peers by her disability, and Manech become closest friends. Late adolescence brings love and lust, commitment and an engagement.

But in 1917 the French Army needed fresh meat for the bloody maw that was warfare on the almost terminally static Western Front. And off went Manech along with many others who never returned.

Employing the harshest discipline of any Western army in modern history, the French Army (which gave the world the Dreyfus trial and in World War I actually used decimation to punish mutinous regiments and divisions) sentences Manech and four others to be cast into No Man's Land without weapons, without any possibility of being allowed to return but with the macabre requirement that they respond to morning roll call if alive (not a good bet). Their alleged crime was self-mutilation to get out of combat (what we call in the American military, "SIW," Self-Inflicted Wounds).

Mathilde in 1920, steely faithful in a moving and believable way, searches fervently for her fiancé whom she believes "must" be alive somewhere, somehow. Employing artful stratagems and enlisting the willing, the paid and the dragooned, her search takes her to cities and battlefields. With resort to a child's employment of magical thinking she frequently whispers tests about what will happen in immediate, ordinary circumstances with one result "proving" for her that Manech is still alive. Tatou makes this self-deception appealing and infinitely sad.

As Spielberg did in "Saving Private Ryan," Jeunet brings the immediacy of the meat-grinding battlefield to the viewer over and over again through superb if sometimes difficult to watch cinematography. Of course no film truly captures the desperation, the epidemic fatality that gripped and demoralized the French Army after years of immobile, set-piece fighting. One needs to read Robert Graves or Siegfried Sassoon for that. But Jeunet has brought to the screen the most realistic World War I trench scenes since "All Quiet on the Western Front" (the 1930 original, of course).

Tatou is an acting tsunami here, alternately beguiling and tense and always hopeful while fighting despair. Expect to see her in many fine roles in the future. She's marvelous.The entire cast is excellent-few are known in the U.S.A remarkable movie with an ending that will satisfy and disturb at the same time.Tatou and Jeunet deserve Oscar nominations.10/10

*

Author: gort-8 from Catonsville, Md.; USA
11 January 2005

This is one of those times that a rating system breaks down. I gave this film a "10" only because there were no "20's" available.

This film, in its own way, seems to be able to fire on those same diverse cylinders that William Shakespeare so often did. It's a light and airy comedy. It's the bitterest of tragedies. It's a beautiful romance. It's an unfolding mystery. At it's heart it is a film of war. War, in all its boiling chaos, touches on all those experiences and more.

When I left the theater I was both elated and depressed. My elation came from having just had such a pure cinematic experience. My depression came from glancing at the marquee and reminding myself that I'll have to survive on the sort of cinema half-life provided by the pablum that normally makes it to the screen. Every now and again it's great to be reminded just how good a movie can be.

*

Author: Libs from Paris
2 November 2004

It is almost insulting to compare this film to Amelie Poulain. Yes it's the same crew, yes it's the same director and yes, Audrey Tautou almost plays the same character. But give JP Jeunet a break, it's part of HIS style. Would you blame Beethoven because his symphonies kinda sounded the same?

It is at times gritty, with its very tough depictions of the Great War, and at times light and naive. It all follows a very complicated storyline which is, I would have to admit, the only weakness in this otherwise perfect movie. With so many characters and so many plot elements, some people may feel a bit lost, specially toward the end. But this is of lesser concern as the audience will still follow the main idea : a quest to find a loved one. So even through all the intricacies of the subplots, the arc story (and its finale) always remain on the horizon.

To put it short, the movie is a masterpiece. The acting is strong, the scenes are breathtaking and overall, so much attention has been put to details that it feels like a labor of love more than a big production movie. I truly think that if French cinema was not so locked into producing crappy talkative movies about losers and failures, it could come up with a lot more movies as poignant as Engagement is.

*

Author: Saman Perera from Houston, Texas
21 December 2004

I had the pleasure of seeing this movie on a special preview last night and I was enthralled at its story line and cinematic experience. I wasn't a great fan of Amelie and hence was not expecting any particular out-of-body experience in viewing this. But I was wrong. It is a wonderful piece of story telling – somewhat difficult to follow if you do have a short memory span for character names – and flashbacks. Yet at the end, it seamlessly closes the web in a beautifully written script that has been well acted and filmed. It is particularly gory in the WWI battle scenes but probably accurate in depiction whilst the locations where the film was shot seem out of this world (hoped they were not computer generated). Quaint towns, fields, beaches and houses lend a beautiful touch to the story of a love that will not die whilst Audrey Tautou delivers a spellbinding performance in a child-like heroine with a will of steel. A special mention must be given to Bruno Delbonnel's camera work which simply is amazing. Can't wait for the DVD.

*

Dazzling, never before have I seen such a visually pleasing picture. Jeunet has mastered the film medium giving 'A Very Long Engagement' a unique and fairy tale like visual style. Though rushed, the fantasy romance that Jeunet paints through flashbacks is inspiring. The graphic World War I trenches, provide an excellent contrast to the simple but charming mystery that Mathilde embarks on through the film.

Although Jeunet relies heavily on Audrey Tautou's performance, it is ultimately his one of a kind visual style that emotionally ties the viewer. This said, the latter portion of 'Long Engagement' feels very rushed and isn't treated to the same elegance that so well defines the first half. There are moments in the film where the visuals far overshadow the emotional intensity intended for the scene. This is perhaps 'Long Engagements' only fault, as it becomes unbalanced. The stylized and even cartoonish artistic direction that Jeunet leans to, although brilliant seems I'll fit for this wartime drama. Even so, 'A Very Long Engagement' comes off genuine and it's mix of fantasy romance and war will let you leave the theater fulfilled.

*

Author: On-Que (funky5terror@hotmail.com) from Vancouver, B.C
2 December 2004

The best film I've seen in at least two years. I WAS TOTALLY PREPARED TO NOT LIKE THIS FILM. The title made me fear that my favorite director had created a chick flick. This movie is amazing, the story is set up quickly and suddenly your running along with this amazing tale that sucks you in and fills you with hope, reminds you that no matter what others may think it is up to you to never give up. I can't wait till it's in theaters so I can see it again, and I can't wait till it's on DVD so I can own it. Maybe supremely jaded people might not like this film, they'll hide behind expensive words to mask the fact that, in life, they gave up. And this move is a reminder that they didn't have to. You need to see this movie, your family and friends do too, heck bring the dog. I'm so glad it's not a chick flick, and I'm so glad that Jean-Pierre Jeunet's craft continues to escalate with each film he does. MM.

*

Author: seaview1
31 December 2004

Lovely Audrey Tautou and director Jean-Pierre Jeunet reteam (having previously made the delightful comedy Amelie) in the epic war drama, A Very Long Engagement, based on the novel by Sebastien Japrisot. It is a visual powerhouse of a film that defies conventional genres by melding together different themes and injecting a generous dose of period authenticity. This French language film is an emotional odyssey that keeps you guessing while it never loses sight of its humanity and even humor.

Childhood friends and then lovers, Mathilde (Tatout) and Manech (Gaspard Ulliel) are separated when duty calls in World War One France. War is hell and the trench fighting that will claim countless lives begins to take its toll on men's sanity and tolerance. Manech becomes one of five soldiers arrested for cowardice because each has a self inflicted hand wound to evade the deadly fighting. But instead of execution by firing squad, the condemned men are forced into no man's land to be fodder for the German line.

It is almost certain that all the prisoners died that day, but years later, in 1920, Mathilde continues in her quest to find the truth and her lover. Aided by her aunt and uncle, she enlists the help of an investigative agency and lawyer to track down the people who knew Manech. Slowly the list grows and one clue connects with another as more witnesses emerge. What starts out as a somber war romance develops into a fascinating adventure of love and mystery of fate as Mathilde follows the trail.

Sure, she does get frustrated as a couple of clues are dead ends, but when a connection is established, the story leaps forward. At times the help comes from an unexpected source and at other times, sheer coincidence saves the day. There is even a subplot involving treachery and betrayal. Before long, the audience will become caught up in her journey. Is Manech alive and will Mathilde ever find him? The film's structure weaves back and forth through flashbacks with great ease and clarity. An occasional voice over narration ties up the loose ends. As the plot begins to make more sense, key scenes are retold from different viewpoints in the Rashomon style of storytelling.

The battle scenes, quite grim and realistic (Saving Private Ryan type of action), are light years ahead of Paths of Glory's anthill scenes, although the opening march through the trenches is almost identical to Kubrick's 1957 classic. There is even a hint of the older favorite, Random Harvest, which also dealt with a wartime romance and search.A Very Long Engagement is blessed with a strong ensemble cast although it may require a score card to keep track of all the names. Andrey Tautou is quite good as the anxious searcher. Her beauty never detracts from her acting talent. Gaspard Ulliel reminds one of a young Ethan Hawke in his innocence amid difficult circumstances.

 As the wife of a key character, Jodie Foster is effective as she corresponds with Mathilde. Yes, Jodie does the French thing well, but her appearance is a bit jarring. Dominique Pinon, a favorite of Jeunet's (Alien: Resurrection, Amelie), lends good support as the uncle. Even the smaller roles are well rounded and memorable, a testament to good casting, strong writing, and Jeunet's direction.

This big budget film is lengthy, but it does have the sweep of a big time novel. The production is outstanding in the authentic costumes and historic set designs of 1920. Jeunet employs cinematography and computer graphics effectively to recreate the era magnificently. He has always been a marvelous director of eye candy, and the film is wonderful to look at. Angelo Badalamenti who has spent a lot of time scoring the moody thrillers for David Lynch is allowed to flourish here with a lushly romantic, emotional soundtrack.

Doubtless this is very likely the ultimate French tearjerker, a kind of Gone with the Wind meets Cold Mountain type of film. It serves as a commentary on war, a romantic fable, a revenge tale, and an intricate mystery. It is a film that defies pigeonholing and that's part of the fun. It also has well defined characters and nice touches of detail and exposition. In short, it is one powerful movie to close out 2004.***1/2 stars out of ****

*

Author: pax-et-forza
20 December 2004

An epic love story on a World War I background. Far from Amelie, the team Jeunet/Tautou demonstrates his talent, showing with poetry love and war, beauty and horror, sweetness and violence. Mathilde and Manech, played by the stunning Audrey Tautou and the new French heart-throb Gaspard Ulliel, are the ideal lovers, determinate, passionate, separated by destiny, hoping...because hope is the message, the only one of a film where love is giving and giving again. If you loved Cold Mountain you will adore "A very long engagement". If don't know yet what it is to hold someone's heart in your hand, to feel the beatings of somebody's heart like the Morse alphabet, this movie will explain it to you, and you never will be the same anymore.

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p15

17/04/2015 05:56 par tellurikwaves

Sites externes

• Official site [Denmark]
• Warner Bros. [France]
• Warner Independent Pictures [United States]

Miscellaneous Sites

• AllStars
• Beyazperde.com - Info & Photos (Turkish)
• Box Office Mojo
• Box Office Prophets
• Boy Meets Girl (Dutch)
• Celluloid Dreams (German)
• Choices.de [Frank Brenner] (German)
• Cinefacts (German)
• Cinefilo (Spanish)
• Cinema.Com
• CineMagia.ro Info - (Romanian)
• DVDwolf
• filmbericht.blogspot.com (German)
• Filmfocus.nl (Dutch)
• Filmreporter.de (German)
• FilmStew.com - Interviews Audrey Tautou, Jean-Pierre Jeunet
• Filmtrailer.hu - Trailer, stills, poster (Hungarian)
• filmz.de - Info, Links, Comments (German)
• Hollywood Stock Exchange - movie info
• HotFlick.net
• IMCDb.org: cars, bikes, trucks and other vehicles seen in this production
• Indiemoviez (Spanish)
• ioncinema.com Preview
• JoBlo.com - Pictures, Synopsis, Posters, Info...
• La Butaca (Spanish)
• Lovefilm.se (Swedish)
• MattFind.com - Reviews, trailer, pics, info
• Movie 2 Movie - pre-screening report (Dutch)
• MovieboX.se (swedish)
• Moviecentre.net - Preview
• moviefans.de (German)
• MovieMeter (Dutch)
• moviepilot.de (German)
• movies.ch (German, French, Italian)
• MUBI: The global community for film lovers
• New Video-DVD Film-Lexikon (German)
• Pasadizo.com (Spanish)
• SoundtrackCollector - Soundtrack Information
• Spielfilm.de - Filminfos (German)
• Stopklatka.pl (Polish)
• Sunset Boulevard - filming report (French)
• Tepasmas.com - Trivia & Facts (Spanish)
• The Lost Forum's Movie Theater
• tvfilm (Hungarian)
• YoVideo (French)
• Zelluloid.de (German)
• Zoomavant.com (French)
• zoomcinema.fr (French)

Photographs

• About.com Photo Gallery
• Ace Photos - photo gallery

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p14

17/04/2015 05:48 par tellurikwaves

à gauche : Le réalisateur

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p13

17/04/2015 05:36 par tellurikwaves

Critique publiée par E-Stark le 20 mars 2014
Jean-Pierre Jeunet est un réalisateur visuel, ce qui ne veut pas pour autant dire que ses films reposent uniquement sur cet aspect. Bien au contraire, le metteur en scène s'avère capable de raconter une histoire en y incorporant une vision personnelle et très accessible, en transcendant tout ceci à travers un univers visuel qui n'appartient qu'à lui." Un long dimanche de fiançailles " se présente comme une fable flamboyante sur la force de l'amour, mais aussi sur l'absurdité de la guerre.

A travers un onirisme parfois désuet et léger, Jeunet nous conte une histoire qui parle d'espoir. Mathilde aime éperdument Manech, et Manech aime éperdument Mathilde, c'est aussi simple que cela.A la fois fort de ses personnages écrits avec justesse, le film nous embarque dans une valse des émotions, à travers cette enquête, à la recherche d'un amour qu'il est impossible d'admettre qu'il est perdu.On aurait pu se dire que rien dans tout cela n'avait vraiment d'intérêt, et pourtant le film s'il est une romance sombre, est également convaincant dans sa force de proposition.

La guerre est ici dépeinte sans demi-mesure, et son horreur fait échos à la force qui se dégage du personnage de Mathilde, incarnée par une Audrey Tautou magistrale.Grand travailleur du cadre et l'esthétique, Jeunet nous emporte dans son univers, ce dernier est à la fois poétique et réaliste, deux aspects qui d'apparence ne forment pas vraiment une bonne addition. La vraie force du long-métrage réside dans cette capacité à articuler le sujet ( l'espoir de retrouver une âme-soeur ) à un thème qui est son exact opposé ( la guerre des tranchées dans la Somme de 1917 ). Jamais le long-métrage ne verse dans le sentimentalisme, il oscille au contraire entre un tour de force visuel, une enquête passionnante, et une dimension dramatique maîtrisée.

Pour s'adresser à un public plus large encore, Jeunet instaure quelques éléments de comédie, et cela en gardant à l'esprit un soucis de cohérence très important. Le film est de toute façon dans son ensemble, un vrai modèle de maîtrise, tant sur le plan visuel que sur le scénario, les acteurs et la réalisation. Ce qui ne veut pas dire pour autant que l'on est là face à un film réalisé par un maniaque, Jeunet n'a rien à voir avec Stanley Kubrick par exemple, car il laisse également part à la spontanéité dans son oeuvre, ce qui était déjà le cas du " Fabuleux destin d'Amélie Poulain ".

Côté casting on ne pourra que saluer l'interprétation de Tautou, mais également celles de Ticky Holgado, Marion Cotillard, Jodie Foster, Denis Lavant, Albert Dupontel, mais aussi les rôles plus mineurs tels que Chantal Neuwirth et Dominique Pinon. Tous forment un ensemble d'acteurs convaincants.Impossible également de passer à côté de la bande-originale, cette dernière composée par Angelo Badalamenti est superbe, le thème de Mathilde est notamment très envoûtant et fort, il vient d'ailleurs sublimer une scène d'apparence simple en lui donnant beaucoup d'intensité." Un long dimanche de fiançailles " est une oeuvre qui fait honneur au cinéma, un très grand film sur l'espoir, mais aussi sur la guerre vécue de l'extérieur. A découvrir absolument !

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p12

17/04/2015 05:31 par tellurikwaves

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p11

17/04/2015 05:27 par tellurikwaves

Critique publiée par fabc le 23 février 2011
Autant je n'ai pas du tout accroché avec Amélie Poulain, une histoire loufoque et gentillette, autant j'ai adoré Un long dimanche de fiançailles.Une histoire forte et haletante qui aurait pu être une histoire vraie. Très émouvant. Audrey Tautou joue merveilleusement bien.Un film que j'ai déjà revu et que je reverrai sans hésiter.
 

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p10

17/04/2015 05:24 par tellurikwaves

Š-DR-UN LONG DIMANCHE DE FIANCAILLES de J.P.Jeunet p9

16/04/2015 04:15 par tellurikwaves

Critique publiée par HamsterNoeliste le 9 juin 2014
Jeunet, c'est beau.

Et le plus fort, c'est que Jeunet déplace son style oulipien d'inventaires à la Perec dans un contexte bien différent du Paris d'Amélie Poulain ; celui de l'horreur des tranchées. Il ne suggère pas. Il ne fait pas que dire. Il allie le mot à l'image, derrière ses petits bonheur il a compris le pouvoir de la monstration et le met en œuvre. Avec ce filtre vert qui impose une distance entre nous et la date de l'action, il filme pourtant chaque personne jusqu'à sa mort. Il cible quelques vies individuelles qui finissent par faire partie de la masse des millions de morts, qu'elles soient transpercées par les Albatros ou pulvérisées par un obus.

Il rend hommage à l'homme avant le soldat. C'est ça, qui derrière l'apparente et heureuse légèreté de Jeunet, est terrifiant.Un long dimanche de fiançailles est un des films de guerre dans lequel on voit le moins de soldats. Mais on y voit les hommes et tous les sentiments qu'une guerre peut impliquer. Il faut maintenant multiplier ce qu'on a vu de trois ou quatre personnages principaux par les millions de morts des guerres, et on verra ce que c'est vraiment, la guerre et la mort.Un long dimanche de fiançailles a profondément compris ce qu'est l'alliance idéale du grotesque et du sublime.