Take the time to stop smell the cinematic rose that is Perfume.
Perfume: The Story of a Murderer (2006)
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Reviews Counted:121
Fresh:69
Rotten:52
Average Rating:6.2/10
Consensus: Perfume is what you'd expect from a Tom Twyker-directed movie glamorizing a serial killer: a kinetic visual feast, with a dark antihero that's impossible to feel sympathy for.
Rated: R [See Full Rating] for aberrant behavior involving nudity, violence, sexuality, and disturbing images.
Runtime: 2 hrs 27 mins
Genre: Dramas
Theatrical Release:Dec 27, 2006 Limited
Box Office: $2,101,584
Synopsis: Author Patrick Suskind enjoys a career shrouded in Salinger-esque mystery. Suskind's best-selling novel PERFUME was coveted by Hollywood for many years, and finally makes it to the screen in this... Author Patrick Suskind enjoys a career shrouded in Salinger-esque mystery. Suskind's best-selling novel PERFUME was coveted by Hollywood for many years, and finally makes it to the screen in this production helmed by Tom Tykwer (RUN LOLA RUN). The film stays remarkably faithful to the author's vision, perfectly summoning up the brooding ominousness of small-town life in 18th-century France, and getting the casting of its central character, Jean-Baptiste Grenouille (Ben Whishaw), exactly right. Grenouille is an orphan whose sense of smell is extraordinarily acute. He impresses master perfumer Baldini (Dustin Hoffman) enough to work for him, and this sets Grenouille off on an epic quest to find the perfect scent. When he discovers that killing young women and bottling their essence is the only way he can achieve his dream, Grenouille is soon a wanted man with multiple murders to his name. However, when it comes to making one last kill--namely the attractive redhead Laura (Rachel Hurd-Wood)--the young perfumer may have met his match in her overprotective father, Richis (Alan Rickman). Tykwer's film is an impressive achievement, not least because the subject of scent and the cinematic medium were always going to make uneasy bedfellows. Couple that with the weight of expectation caused by the millions of readers who have delighted in Suskind's words, and it needed a brave director to take on such a project. Whishaw is a revelation in his first major screen appearance, and Tykwer made a wise choice in bringing in some older heads (Rickman, Hoffman) to support the younger actor. Visually, the film is stunning, and cinematographer Frank Griebe clearly worked hard to bring Suskind and Tykwer's visions to life. But ultimately this is an ensemble piece, with cast and crew all pulling together to create a film that simmers with a hushed menace throughout. [More]
Starring: Ben Whishaw, Dustin Hoffman, Alan Rickman, Rachel Hurd-Wood
Starring: Ben Whishaw, Dustin Hoffman, Alan Rickman, Rachel Hurd-Wood
Director: Tom Tykwer
Producer: Bernd Eichinger
Composer: Reinhold Heil, Johnny Klimek
Director: Tom Tykwer
Studio: DreamWorks Distribution LLC
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Reviews for Perfume: The Story of a Murderer
It's surprising that the director of Run Lola Run didn't make a movie that's lighter on its feet.
While you might not come away from a viewing feeling entirely satisfied, you will almost certainly have lots to talk about.
The climax of the film -- quite literally -- is so silly and preposterous that we're likely to leave the theater either laughing at it or grumbling about how such a good idea for a movie could have been so diluted: not perfume, but cheap cologne.
Even though Perfume is primarily about how things (and more importantly, people) smell, it manages to be a feast for all the senses.
Jack the Ripper meets Scent of a Woman in Perfume: The Story of a Murderer, an example of why certain books are deemed unfilmable, no matter how talented those involved are.
Perfume is ultimately an unmistakable failure, but there's a strange majesty to its epic overreaching.
Tykwer's smash-and-grab directing style lacks the magisterial flair of the original novel by Patrick Suskind, which was celebrated by no less than John Updike in The New Yorker. It's hard to judge a book right after you've seen the movie, but I hated it.
The director stays true to the source novel even when it lifts into a magical realism that works only on the page, and his faithfulness betrays him. Perfume is a thriller that Hobbes might have envied.
There is Oscar-caliber work at almost all levels here, beginning with the exceptional adaptation by Tykwer.
Most horror movies try to show us the man inside the monster. Perfume: The Story of a Murderer shows us a man who is all monster, whose colossal amorality makes him a potential Messiah or menace to humanity.
Despite a fairly spectacular climax, the material's generic limitations eventually catch up with the plot.
It ventures so fearlessly down one limited, terrifying, seductive dead end, and finds there a solution both sublime and horrifying. It took imagination to tell it, courage to film it, thought to act it, and from the audience it requires a brave curiosity.
A film can reek equally of fine craftsmanship and piping-hot dung, and the proof's in Perfume: The Story of a Murderer.
Stanley Kubrick e Martin Scorsese chegaram a declarar que [Perfume], livro do alemão Patrick Süskind, seria "infilmável". Pois até os gênios erram.
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