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Un Coeur en Hiver
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Directed by Claude Sautet.
Daniel Auteuil and Emmanuelle Béart from Manon of the Spring (1986) co-star once again in Un Coeur en Hiver, playing characters whose distance from each others' lives belies the enormous emotional impact they have on one another. Directed by Claude Sautet, whose 40-year career included the Oscar-winning César et Rosalie (1972), Un Coeur en Hiver is a remarkably restrained film with torrents of feeling just under the surface. Auteuil plays Stephane, partner in an exclusive violin brokerage. His older business partner Maxime (Andre Dussolier) has a lovely new violinist girlfriend, Camille (Béart), who stirs Stephane but is ultimately rejected by him, sending all three characters into a spin that destroys their delicate, symbiotic balance. Hovering over this story is an unusual musical motif that is key to the characters' inner motivations. Violins play, and play on camera, all through the film, but the nature of Stephane's craft, Camille's career, and Maxime's profits is that the music can always be refined, tinkered with, changed with a twist of this or a bit of that. That's precisely how they conduct their relationships and lives -- with a fragile sense of security and no idea when to stop manipulating life for effect. ~ Tom Keogh, All Movie Guide
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quintquint Moroccan Pretty Woman
by quint in An inordinate number of peppers
liked it.
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"Here's my confession. I'm a sucker for all things Moroccan. I came to love Morocco via the stories of Paul Bowles. I once spilled a cup of coffee on the Paul Bowles shelf in a bookstore and got them all cheap, cheap. I love Paul Bowles. Herzog should do a Paul Bowles story. I love Moroccan music, especially the music of the Gnawa. I saw Hassan Hakmoun, one of it's finest touring practitioners (in my opinion) tear it up with some jazz musicians in Detroit last weekend. It was frikkin awesome. I'm not so much a fan of Burroughs' Morocco. I like stories about Aicha Kandisha, the succubus who lures unwary men to their demise in her bed. The men who become enslaved to her and work her will. It is very interesting to me to suppose a culture steeped in magic. I think the Morocco I dream of is perhaps still there. It is beneath everything the West can scrubbed off that scrap of desert. I wanted to see this right off and I'm glad I did. Although, i have to say, it ... " [More]
paulpaul Re: Top five favorite Soundtracks
by paul in Best Movie Soundtracks
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"Crooklyn Disc 2 - It's the best compilation of the seventies that will never appear on a "Best of the 70's" compilation.Yes, High Fidelity. Can't beat it with a stick.True Stories, soundtrack by the Talking Heads. I know I'm in the vast minority, but it's my favorite album of their's.Mentioned elsewhere in this group, Un Coeur en Hiver can be set on "Repeat" for days and never get old.And I can't deny the hundreds of times I listened through the Trainspotting soundtrack. Lou Reed's "Perfect Day" is one of my all-time faves thanks to Danny Boyle. " [More]
paulpaul Re: Favorite Film Scores?
by paul in Best Movie Soundtracks
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"Which sort of brings up the John Williams phenomena. John Williams who does anything Steven Spielberg or George Lucas (and also a personal favorite score, Superman) is pretty much what most people in this country recognize as popular classical music. I've heard orchestral musicians tend to hate him. But it's fascinating how he took orchestral music and created hits within a pop music culture. Would we even care about his music if it didn't conjure up feelings from when we saw Luke blow up the Death Star, Superman jump into a phone booth, or Indy chase down the ark?Incidentally, have you ever tried to hum the following John William's scores one after the other?Star WarsSupermanRaiders of the Lost ArkI find it very difficult. I get stuck on one and it blocks out the other two (maybe because they're so similar).Anyway, Nino Rota with The Godfather is my favorite soundtrack (especially the 5/4 piece when Woltz wakes with the dead horse).Ennio Morricone's work for The Mission really sta ... " [More]
Review by All Movie Guide
All Movie Guide
liked it.
A gorgeously subtle examination of an unusual love triangle, Un coeur en hiver is a triumph for all involved. The film follows of a pair of business partners (André Dussolier and Daniel Auteuil), who run an exclusive stringed-instrument workshop, and the beautiful and talented violinist (Emmanuelle Béart) who comes between them. At first, it seems like standard material, but Claude Sautet's film is unique in that the characters' inevitable ruin is brought on not by an illicit affair but by the contemplation of an illicit affair. Thus the film becomes a moving, if occasionally frustrating, portrait of emotional frigidity. Sautet's subdued and perfectly paced direction (for which he won a French César award) and the script, by Yves Ulmann, Jacques Fiéschi, and Jerome Tonnèrre from a short story by Mikhail Lermontov, frame three superlative performances. Dussollier, who also picked up a César, hits all the right notes as the gregarious Maxime, and Auteuil is consistently fascinating, subtly hinting at hidden depths beneath Stephane's maddeningly enigmatic mug. Béart's Camille, though, is at the heart of the film, and her performance is both technically flawless (she studied the violin for more than a year before filming) and emotionally harrowing. The film also features a stunning Ravel soundtrack, performed by violinist Jean-Jacques Kantorow. ~ Mark Pittillo, All Movie Guide
 



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