It's charged with nuance yet ultimately an exercise in compressed literary adaptation.
The Duchess of Langeais (2008)
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Reviews Counted:21
Fresh:16
Rotten:5
Average Rating:7.1/10
Consensus: At times plodding and dialogue heavy, The Duchess of Langeais is nevertheless an intriguing and rewarding dissection of class and gender relations.
Theatrical Release:Feb 22, 2008 Limited
Synopsis: Jacques Rivette (VA SAVOIR) directs this masterful adaptation of Honoré de Balzac's novel about a game of hearts between General Armand de Montriveau (Guillaume Depardieu), a protégé of Bonaparte... Jacques Rivette (VA SAVOIR) directs this masterful adaptation of Honoré de Balzac's novel about a game of hearts between General Armand de Montriveau (Guillaume Depardieu), a protégé of Bonaparte in Restoration-era France, and Antoinette (Jeanne Balibar), the married but flirtatious Duchess of Langeais. They meet at a ball where Armand--intense, morose, and lacking the embroidered manner of the aristocracy--is currently en vogue following a military campaign. The two become frequent companions. But it is unclear whether the Duchess wants a lover or a lapdog, leading to romantic frustrations for Armand who cannot live, like his compatriots, with Parisian society's unspoken and tacitly accepted hypocrisies. As a sentimental war rages between them--with Antoinette stoking the fires of passion and Armand unexpectedly turning the tables on his lover--the film raises provocative questions about the true sources of desire. Taking place in parlors that echo with chatter and creaking floorboards, THE DUCHESS OF LANGEAIS offers a restrained and realistic evocation of the 1820s. Composed of graceful widescreen compositions that decline to comment on the action, and interspersed excerpts from the novel that take the viewer out of it, the film's emotional reserve matches its story and heightens its fraught romance. In his role as a man tortured by his obsession, and all too willing to wound himself in its pursuit, Depardieu is mesmerizing. Though clocking in at over two hours, Rivette's film is an engrossing slow burn that crackles to a climax that is as inevitable as it is devastating. [More]
Starring: Jeanne Balibar, Guillaume Depardieu, Bulle Ogier, Michel Piccoli
Starring: Jeanne Balibar, Guillaume Depardieu, Bulle Ogier, Michel Piccoli, Barbet Schroeder, Anne Cantineau, Marc Barbe, Thomas Durand, Nicolas Bouchaud
Director: Jacques Rivette
Director: Jacques Rivette
Screenwriter: Pascal Bonitzer, Christine Laurent
Producer: Pierre Grise Productions
Composer: Pierre Allio
Studio: IFC Films
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Reviews for The Duchess of Langeais
Maybe even Rivette himself is a little too delicate for this ferocious, intensely focused pair. But he's fascinated by them, and ultimately, he loves them.
The everyday moviegoer will find it as impenetrable as its heroine. But if you vibrate to nuances of style, if you enjoy tension gathering strength beneath terrible restraint, if you admire great acting, then you will.
The director guides the viewer through a sly consideration of near-sociopathic not-quite-lovers, one of whom finds refuge in religion, the other in romantic obsession.
The Duchess of Langeais is a stately costume drama of wrenching passions expressed in courtly phrases.
Jacques Rivette’s Duchess of Langeais seems to me a nearly impeccable work of art -- beautiful, true, profound.
It is the ultimate in movie as pane of glass, completely un-self-conscious of its own movieness but simply an intensely focused examination of human behavior on a narrative armature.
Based on a Balzac story, Rivette's Duchess manages to be both old-fashioned in its settings and circumstances, and coolly modern in its view of thwarted passion and despair.
The movie's satisfactions are subtle, but they run deep, and there are many.
The Duchess of Langeais benefits from many New Wave innovations -- long, fluid takes and loosely organized improvisational scenes. Still, it feels like a curiously static entertainment.
The film's a minuet fetishistically repeated until either the audience or the lovers go crazy. I'd say it was a tie.
In Jacques Rivette’s remarkable The Duchess of Langeais, romantic devotion becomes a perverse kind of warfare, in which a lover who admits that he’s in love loses the campaign.
After more than 50 years of idiosyncratic filmmaking, Rivette, who turns 80 on Saturday, is as intense and rigorous an artist as ever.
Handsomely produced and featuring fine performances, the film will travel well to festivals and art houses where audiences respond to classy period pieces with a modern sensibility.
The Duchess of Languor might be more evocative. Faithfully lifted from the pages of Honore de Balzac, Jacques Rivette's overlong, resplendently decorative drama takes on the phlegmatic air of its character.
The gorgeous floorboards creak -- loudly -- in the veteran French director Jacques Rivette's fascinating drawing-room war of the sexes, The Duchess of Langeais.
The Duchess of Langeais contemplates an especially crazy case of l'amour fou.
With the simplest of means, the director Jacques Rivette has cut a path to the heart of Balzac’s The Duchess of Langeais.
See it for the respectfully literal Balzac screen transcription. After all, I may have been wrong about Mr. Rivette all these years, and it would not be the first time.
Latest News for The Duchess of Langeais
February 21, 2008:
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