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Gerard Depardieu
Born: December 27, 1948 in Le Berry, France
Nationality: French
Nationality: French
Filmography Cameo(s)
Filmography Cast Member
(2008)
(2008) PG-13
(2008) Unrated
(2007) PG-13
(2006) PG-13
(2006) R
(2005) Unrated
(2004) Unrated
(2003) R
(2003) Unrated
(2003) PG-13
(2003) Unrated
(2003) R
(2003) Unrated
(2002) R
(2002) Unrated
(2002) Unrated
(2001) R
(2000) Unrated
(2000) R
(2000) G
(2000) PG-13
(1999) Unrated
(1999) Unrated
(1998) PG-13
(1996) PG
(1996) R
(1996) PG-13
(1996) R
(1996) Unrated
(1994)
(1994) PG-13
(1994)
(1994) Unrated
(1993) PG
(1993) R
(1992) Unrated
(1992) PG-13
(1991) R
(1990) PG
(1990) PG-13
(1989) Unrated
(1989) R
(1988) R
(1987) Unrated
(1987) PG
(1986) Unrated
(1985) Unrated
(1985) PG-13
(1984)
(1984)
(1983) R
(1983)
(1983) Unrated
(1983)
(1982) PG
(1981) Unrated
(1981) R
(1980)
(1980) R
(1980) PG
(1980) PG
(1979) Unrated
(1978) R
(1977)
(1976)
(1976) Unrated
(1976) R
(1976)
(1974)
(1974) R
(1972) PG
(1972) Unrated
We, Americans, from our childhood are encouraged to identify with endless cartoon characters that as our internal objects (sitting in our unconscious, defining our reactions and having become a part of who we are) influences our behavior even when we have grown up. Resnais? film shows us ourselves when we as adults are in a permanent (direct or silent) dialogue with cartoon personages and how this fact cripples our adulthood by making us unable to handle the challenges of the real world.
Resnais analyzes how relations between US and Europe today has become an exchange of American cartoon world view with attempts by some French scholars to assimilate it through finding its fake intellectual elaboration.
We see how American globalism in cartoon boots is fusing with the French intellectual sophistication to the cultural detriment of both sides.
The film is funny, but our desire to have fun is defined by film?s images as phony, and our laughter debunks itself ? becomes impregnated by shame and pain.
?I want to go home? is an impressive intellectual and artistic achievement. I am not sure that we deserve it.
Nobody expected from Adolph Green, a famous Hollywood composer, such an impressive performance as an actor, which suddenly made him an equal partner to Gerard Depardieu.
Read the article ?Cultural Apocalypse by Means of Comedy? with the analysis of shots from the film (posted on Dec. 28, 2009) at:
www.actingoutpolitics.com
by Victor
?Oh, Woe is Me? (1993) is Godard?s Study of the Changing Sensibility of Our
Reviewed by actingoutpolitics for Helas pour Moi at 2010-07-22 23:03:04
Reviewed by actingoutpolitics for Helas pour Moi at 2010-07-22 23:03:04
In the post WWII period of flowering democracy of material prosperity and secular spirituality, people were proud of rituals of mutual tolerance and development of scientific knowledge. But closer to the end of the century: with the growing uncertainty and unpredictability of life and enlarging opportunities to make easy money outside the West (and with the influx of foreigners, represented in the film by Zeus? entourage) something new happened with the Western soul and Godard was very quick to register it in ?Woe?.
What happened is the intensification of interest toward the super-natural (super-human) power. People started to think not about god (they always were believers) but about god?s power, god?s might. They even started to feel the power of (human-made) technology as a super-human might, for example, as we see in the film, the passing ship puts many into a fascinated stupor, the passing train activates in some cartoonish iconoclastic reaction, or the talking pin-ball machine mesmerizes not only characters but also viewers. Swollen interest toward the super-human energies is equally noticeable in different social strata (the literature professor is fixated on finding in poetic texts the taste for super-human perfection, as Rachel Donnadieu, a parishioner and wife of a garage-owner finds super-human aura in her prosaic husband Simon). People?s fixation on technological toys helps the growth of their new pseudo-theological sensitivity.
Rachel?s husband Simon also cannot resist, around his business trip to Far East, this new self-aggrandizing feeling. Is Simon starting to feel himself as Zeus and decided to surprise his wife by suddenly returning to her as God (feeling himself as God), or has Zeus incarnated Himself into poor Simon to spend the night with Simon?s loyal wife? We are not suppose to expect any help from Godard on the level of the plot ? ?objective? realities are always ambiguous because they are partially produced by human feelings and human perceptions, we unconsciously participate in creating phenomena we perceive as belonging to external world.
Godard?s unbelievable film is like life, impossible and natural. ?Woe is Me? helps us not only to understand better our own complexes (and be astonished by another side of our everyday life) but to get a new feeling of our epoch changing in the direction nobody knows. Read articles dedicated to films by Godard, Resnais, Bergman, Pasolini, Cavani, Bunuel, Kurosawa and Bertolucci (with analyses of shots from films) at: www.actingoutpolitics.com By Victor
This is the only uncut version of Shakespeare's play committed to film. As such, it is a relief to find it done so well. While not all of the star-studded cast fit too easily (Jack Lemmon is a bit ill-at-ease in a brief bit), but others fare quite well (Heston, Crystal). Excellent production design, and great performances from Branagh, Winslet, Jacobi and Christie. If you fear the 4 hour running time, the Gibson version is fine. But if you want great cinema, this is the best version.
FOUR BONES? Have you been at the dognip? This thing is ghastly! Hamlet swinging on a chandelier across the room in the final scene? Give me a break - or a poison-tipped sword. This is like a Corman send-up of Shakespeare, without any of the humor. See Mel Gibson do his wired Prince, Nicol Williamson do his haunted Prince. (Skip Olivier's self-aggrandizing Prince-as-Young-Werther.) But stay away from this bizarrely inadvertent parody: Prince-as-Doug-Fairbanks.
You have to see the movie that led to make Marion Cotillard the first actress to win an Oscar for her performance ! She was extraordinary !
Babylon A.D.: The Director (is) Cut
Reviewed by www.BraidedThreads.blogspot.com for Babylon A.D. at 2008-09-03 14:20:43
Reviewed by www.BraidedThreads.blogspot.com for Babylon A.D. at 2008-09-03 14:20:43
So, does Babylon A.D. get an "A" or a "D" on its scorecard? Maybe it will depend on which version of the movie you get to see in the years to come. This film got my attention as another one of those movies that shatters auteur theory into jagged little pieces.
The French director, Mathieu Kassovitz even hates his own movie now that it has been taken away from him by the studio and bailed out by the production's insurance company after it went over budget and well beyond the film schedule. Maybe Babylon A.D. will get revisited on DVD in its former "glory."
Its current "glory" is like an annoying, predictable firework. The movie is a cross between "The Fifth Element" and "Children of Men" without any of the playful fun of the former, and none of the intensity of the latter. Barely any of the movie takes place in New York, as the advertisements would have me believe, which may have something to do with the production going over budget (You can tell this is the New York of the future, though, because there are lots of neon advertisements splattered across the sides of buildings). The action sequences are chaotic, which may have something to do with the production going over budget, or something to do with the close-up, shaky hand-held footage. The embarrassingly tacked-on sequence of a snowmobile chase looks terrible, like it is being streamed on low-bandwidth internet connection, which may have something to do with how cold it was when they were filming. The story is nothing original, but it is possible to engage an audience even with a predictable story depending on how you tell it, and how this story was told may have something to do with the production going over budget, something to do with the studio cutting its costs, and something to do with how long it can take to make some stories work.
Feast of Cinematic Pleasures
Reviewed by www.BraidedThreads.blogspot.com for Paris, je t'aime at 2008-08-28 12:43:39
Reviewed by www.BraidedThreads.blogspot.com for Paris, je t'aime at 2008-08-28 12:43:39
This collection of short pieces is a feast of cinematic pleasures.
Astonishing. It is like a collection of poignant, varied poems.
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VideoHound Lists with Gerard Depardieu Movies
Best Performance by an Actor in a Leading Role
Best Performance by an Actor in a Leading Role
Best Performance by an Actor in a Leading Role
Best Performance by an Actor in a Motion Picture - Musical or Comedy
Best Performance by an Actor in a Leading Role
Best Performance by an Actor in a Leading Role
Best Performance by an Actor in a Leading Role
Best Performance by an Actor in a Leading Role
Best Performance by an Actor in a Leading Role
