A visitor's beatific evocation
The Flight of the Red Balloon (2008)
Tomatometer
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Reviews Counted:79
Fresh:63
Rotten:16
Average Rating:6.9/10
Consensus: Hou Hsiao-hsien's remake of the 1956 classic is unhurried, contemplative, and visually rapturous.
Theatrical Release:Apr 4, 2008 Limited
Synopsis: In 1956, Albert Lamorisse made THE RED BALLOON, a short in which a young boy, played by his son, makes friends with a red balloon. Some 50 years later, Taiwanese auteur Hou Hsiao Hsien has made his... In 1956, Albert Lamorisse made THE RED BALLOON, a short in which a young boy, played by his son, makes friends with a red balloon. Some 50 years later, Taiwanese auteur Hou Hsiao Hsien has made his first French-language film, the charming and subtle FLIGHT OF THE RED BALLOON, commissioned by the Musée d'Orsay and inspired by Lamorisse's children's classic. A blonde Juliette Binoche stars as Suzanne, a single mother living in Paris, doing her best to raise her seven-year-old son, Simon (Simon Iteanu), while preparing her latest puppet show, based on the Yuan Dynasty story of Zhang Yu and his beloved, Qiong Lian. Suzanne hires Song (Song Fang), a Taiwanese film student, to come to Paris to take care of Simon. Song goes everywhere with her camera, filming everything she sees. Meanwhile, Simon is being followed by a red balloon that has grown attached to the boy. The balloon, which seems to have its own personality, hovers over the boy and his family as Suzanne struggles with her daily life, fighting with tenants who owe back rent, moving a piano, and getting ready for the puppet show. Hou, the director of such widely acclaimed films as THE PUPPETMASTER, FLOWERS OF SHANGHAI, and CAFE LUMIERE, has created a touching, beautiful film in FLIGHT OF THE RED BALLOON, which opened the 2007 Cannes Film Festival and was also selected for that year's New York Film Festival. Not only does the balloon serve as a character unto itself but so does the city of Paris as Song and Simon walk through the streets and ride the train. All the dialogue in the film is improvised, shot in long takes by cinematographer Mark Lee Ping Bing; Hou provided each of the actors with the general scenario and back story and then had them fill in the dialogue and movement themselves, adding a natural authenticity to the film. [More]
Starring: Juliette Binoche, Simon Iteanu, Hippolyte Girardot, Song Fang
Starring: Juliette Binoche, Simon Iteanu, Hippolyte Girardot, Song Fang, Louise Margolin
Director: Hou Hsaio-Hsien
Director: Hou Hsaio-Hsien
Screenwriter: Hou Hsaio-Hsien, Francois Margolin
Producer: Francois Margolin
Composer: Camille, Constance Lee
Studio: IFC Films
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Reviews for The Flight of the Red Balloon
La Tour de Paris charmingly through the fresh eyes of a Chinese film student updating Lamorisse's beloved film while she babysits the son of the lovely, harried Binoche.
While Hou's cinematic techniques are as sound as ever, this time it feels as if they're being used to peer into nothing of particular, specific significance.
As if playing a serenely refined game, Hou transforms constraint into freedom -- which feels more to the point than any plotbound interpretation.
Beautifully shot, but ultimately dull and plot-free drama that's both elusive and frustrating, despite a strong performance from Binoche.
The question is whether it really makes sense to turn Lamorisse's fanciful original film into a downer family drama; it's sort of like doing a modern-day version of "Narnia" where the kids never find the wardrobe.
The movie is marvelously alert to whatever wonderment may appear within it. Which, for a patient, sympathetic audience, is much.
A winsome homage to Albert Lamorisse's classic children's fantasy short film of 1956 The Red Balloon.
There’s no editing within a scene, no close-ups. No incidental music. Just life, or a pretty accurate simulation of life.
Lamorisse's film was a third of this length, and was lighter than air. Hou's is about the weight of air itself on a muggy day, and whether that sustains over 113 minutes will be between each viewer and his attention span.
The slow-moving Red Balloon really doesn't stack up favorably with its obvious inspiration, the delightful 1956 short fantasy The Red Balloon.
In a film that feels so unstructured, these scenes reveal how much craft and structure actually go into Hou's films, how he endows his film with such meticulous layering of themes and ideas.
Even when [Hou is] working with simple ingredients, he brings along his masterful sense of space, timing, and everyday observation, which gives an actress like Binoche ample room to shine.
I fear many viewers may lose patience. But those who stay to the end of this delicate and beautiful film will be amply rewarded.
It’s all humdrum and low key without any redeeming compositional elegance or symmetry.
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