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Les Enfants Du Siecle [DVD] [2000]
  

Les Enfants Du Siecle [DVD] [2000]

DVD ~ Juliette Binoche
4.0 out of 5 stars See all reviews (2 customer reviews)

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Product details

  • Actors: Juliette Binoche, Benoît Magimel, Stefano Dionisi, Robin Renucci, Karin Viard
  • Directors: Diane Kurys
  • Writers: Diane Kurys, François-Olivier Rousseau, Murray Head
  • Producers: Diane Kurys, Alain Sarde, Christine Gozlan, Robert Benmussa
  • Format: PAL
  • Language French
  • Subtitles: English
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Number of discs: 1
  • Classification: 15
  • Studio: 2 Entertain Video
  • DVD Release Date: 17 Sep 2001
  • Run Time: 108 minutes
  • Average Customer Review: 4.0 out of 5 stars See all reviews (2 customer reviews)
  • ASIN: B00005AFKT
  • Amazon.co.uk Sales Rank: 167,413 in DVD (See Bestsellers in DVD)

Reviews

Special Features
French
Region 2
English


Synopsis
Set in nineteenth century France, this is the story of feminist writer George Sand and her relationship with Alfred de Musset. French dialogue with subtitles.

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Customer Reviews

2 Reviews
5 star:
 (1)
4 star:    (0)
3 star:
 (1)
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Average Customer Review
4.0 out of 5 stars (2 customer reviews)
 
 
 
 
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5 of 9 people found the following review helpful:
3.0 out of 5 stars An unromantic look at the romantics, 21 Nov 2003
This movie was surprisingly unlikeable, in spite of so many factors that could have made it unforgettable.

First of all, there's Julliette Binoche, the incredibly involving, charming and beautiful actress. She plays the French novelist George Sand.

Then there is the wonderful romantic period and characters. Sand was, of course, the lover of Frederick Chopin during the last part of his miserably short life. In one scene of the film they show the viruoso Liszt playing in a French salon. This seems to be a wonderful premise for an involing plot.

But this was not to be. Sand becomes the lover of the womanizing (and daily prostitute frequenting) Alfred de Musset. He is a great source of irretation in this movies. At first he supposedly loves Sand but then returns to his old hedonistic lifestyle when she becomes sick on a love-trip to Venice. His infidelity, it seems, is fatalisticly unstoppable. This probably accounts for the title: they are "children" of the romantic fatalistic ideal.

I don't know if many other viewers enjoyed (or would enjoy) this movie. It is a sad chapter in a romantic literary geniuss's life - and I wished they picked a different chaper to tell.

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5.0 out of 5 stars free, free, set them free, 26 May 2009
By Gerry O'neill (Morrisville, NC United States) - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)   
Much has been written about the love story tying the two personalities together in this French period drama. Admittedly, this is the focus of the movie, but what makes the film interesting is the historical backdrop against which the story is set.

It takes a considerable amount of imagination to place oneself in the France of the 19th Century, where women had few freedoms and where the Enlightenment was pushing aside the deference to religion.

In this respect the film devotes less time to the history than to the romance but the two are inextricably intertwined.

Here we have a strong, independently minded woman, of aristocratic background who leaves her husband, and, taking her children with her, moves to Paris. This in itself would be scandalous behaviour given that women were considered to be mere chattels of their husbands.

Her behaviour was perceived to be even more extreme when she donned men's clothing, which she claimed were cheaper and more durable than women's, and sin of sins she began smoking in public. Controversy was never far away from her. Later in the film we see her in attendance at a social function where the waltz was being played, which at the time was considered too wicked for ladies to dance but which quickly became the rage across Europe.

What is evident is Sands being involved in the salons which were the pretorian guard of the dissemination of intellectual ideas in French society. Although often organised by women, the salons provided a social background where arts and sciences could mix and where debate flourished although the protagonists were male for the most part.

Sands, although a writer, was often perceived by men who attended the salons as being a person of loose morals and was an affront to the genteel behaviour of women of the day. Not wishing to be classified as a feminist she nevertheless displayed the qualities one would hope for.

It is these aspects of the film which need to be teased out to comprehent the full flavour of this film. It is the detail of the background upon the canvas where the two lovers are brilliantly depicted. The full glory of this film can only be understood in these contexts which qualifies it as being a great, though sad, film.
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