Duchess of Langeais -- compared to an exhilarating neo-New Wave movie like The Witnesses -- is always dull.
The Duchess of Langeais (2008)
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Reviews Counted:61
Fresh:41
Rotten:20
Average Rating:6.4/10
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
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.
It may sound like silly wordplay, but this film is nothing short of rivetting.
The film is a piercing pas de deux that excoriates romance even as its doomed characters are consumed by it.
Jeanne Balibar is radiant in Antoinette's deception and self-deception that speak of and to all lovers, male as well as female.
Well acted and aesthetically attractive, the film remains by and large inert.
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.
Demonstrando uma quase reveręncia ŕs origens de seu projeto, Rivette cria um roteiro que retém a natureza literária da narrativa.
Scenes move ahead in a plodding manner. Since the film's hero is supposed to be a man without charisma, he cannot rivet an audience.
Jacques Rivette, one of France’s most original filmmakers, stumbles with his latest film from a novella by Honore de Balzac, a period drama set in mid-19th-century France and Italy that is stopped dead by the one-note performance of Guillaume Depardieu.
If you appreciate their acting, and enjoy the words of the battle between them - during which the duchess prevaricates until it is too late - it will seem fascinating.
The duologues between the couple seldom vary in tone: he's the doormat, and she wipes her silk slippers on him. Depardieu makes for a compelling presence, even if he's a bit one-note.
In a tale of passion, don’t we want passion? Instead of Rivette’s painterly pose-striking tableaux, would we not like some madness and modernism?
Terrific performances by the two leads make this a far more rewarding film than the rigorous formality might suggest.
No lavish costume drama, it's instead a theatrical dissection of the spiteful games lovers play.
A rewarding and cleverly constructed experiment - but not one that is easy to enjoy or warm to. All will agree that it's a fine thing that Rivette should still be pushing the boundaries, few will actually want to watch him doing it.
Balibar delivers a supremely arch portrayal of a woman whose every gesture and expression seem calculated for effect.
Latest News for The Duchess of Langeais
February 21, 2008:
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December 14, 2007:
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