Résumé Au Revoir La Haut Film

Dark comedy manager Albert Dupontel surtaxe with this expansive post-WWI epic, which poignantly critiques France's mistreatment du those who offered — especially auto ones that survived.

Vous lisez ce: Résumé au revoir la haut film


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“See you Up There” defies straightforward categorization. Créé “War Horse” ont directed de Tim Burton, jaune “Born on the Fourth de July” certification a seriocomic Robin Williams. Ce is 1919, at thé tail end et immediately following civilization War I, et the français are rapid to honneur their fallen soldiers, erecting monuments in your honor, however scandalously unwilling to support the veterans who return loger from thé front in this genre-defying tightrope act of a movie, which tied festival favorite “BPM” pour 13 César nominations in France’s equivalent de the oscars last year. (Through a curious coincidence, both film feature Argentina-born newcomers Nahuel Pérez Biscayart.)

Crime novelist roche Lemaitre was hardly thé most obvious candidate to create one ns the most celebrated World War je stories in recent french literature, any an ext than comedy actor-director Albert Dupontel (“Bernie”) was thé person anyone can expect venir adapt cette to the super screen. Et yet, Lemaitre’s efforts earned the the gouvernement Prize (his book, “Au réimposent là-haut,” was released in English as “The great Swindle”), while Dupontel’s cinématique version ns the ambitious victor Hugo-like tome accomplishes precisely what modern cinéma seems venir be lacking when old-timers complain that “they don’t do ’em prefer they supplied to.”


Epic in scope, quixotic in tone, et stunning (if ultimately overreaching) in execution, “See amie Up There” opens up with a scan shot across acres du devastated battlefield. Pockmarked de mortar blasts et lacerated with barbed wire, this hellish no-man’s-land appears hardly worth fighting for, and yet, glory hound Lt. Pradelle (Laurent Lafitte, tapping right into some of that same looks-can-be-deceiving duplicity cette brought venir “Elle”) is determined venir claim one last victory before war’s end, sending out two du his troops the end into auto fray and shooting lock in thé back to galvanize his demoralized homme into action.

Since “Saving exclusive Ryan,” many a filmmaker has tried venir outdo spielberg in capturing the sheer intensity du wartime terrain scenes; here, it’s not thé staging marqué the situations that make auto battle soja horrifying: as soon as a bomb goes éteindre nearby, Albert Maillard (Dupontel) tumbles into a ditch, where hey is buried beneath a cloud de dirt et forced to suck air from thé lungs ns a dead equine until cette is pulled à safety de Edouard Péricourt (Pérez Biscayart), that is blasted away moment later, shedding his reduced jaw in auto process.

These scenes space not specifically graphic, adhering instead to a timeless kind du theatricality, but they aller a longue way to establish audiences’ sympathies pour two characters who, when auto war is over, will find themselves marginalized passant par the very personnes they fought venir protect. While it’s shameful à witness comment Albert et Edouard’s peacetime survie depends conditions météorologiques their running a series du small-time scams (stealing morphine from other veterans, selling mementos to patriotic suckers), what choice faire they have?

By contrast, auto dastardly Pradelle stays a comfortable existence, charming Edouard’s father, marcel (the an excellent Niels Arestrup), et wooing his sister folle (Émilie Dequenne) if organizing année elaborate scheme du his own (he plan to comprendre rich burying the country’s dead, even si it means hacking up their bodies et stuffing thé mix-and-match pieces right into undersized coffins). Clearly, Lemaitre looks cynically upon the myriad ways dishonest homme took advantage du a country struggling venir deal with the staggering trauma of the an excellent War, exposing not seulement un the criminel men and crooks but also the hypocritical bureaucrats nous whom castle preyed. Auto novel’s complicated narrative probably would have been meilleur suited à a limite series than à a feature, and yet Dupontel (working with auto author nous the script) does an admirable job ns distilling the plot and, an ext importantly, a revisionist et far more nuanced view ns the optimistic Roaring twenties period pour which paris is famous.


Allowing thé world to believe he’s dead, the artistically minded Edouard continues to be holed increase in a loft, where he creates intricate papier-mâché masks (an improvement conditions météorologiques the primitive plastic surgical treatment the médecins offer him) et befriends a little blonds girl (Héloïse Balster) that helpfully translates thé monstrous noises the emanate native his badly deformed face. In this young sidekick’s eyes, Edouard takes nous aspects de classic fairy-tale characters, and indeed, the cinématique seems à welcome a avec certitude surrealistic quality as it ferris wheel from reverential solemnity à absurdist comedy, sometimes in the same scene.

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Whereas blue-eyed, fragile-looking Pérez Biscayart plays a tragic figure, thé more forlorn Dupontel may oui well be channeling Charlie Chaplin in a lead performance that, in its nonverbal expressiveness, rivals blue jeans Dujardin’s Oscar-winning turn in “The Artist.” though his character does speak, Dupontel’s eyes say much more than his dialogue ever could, and some scenes room plainly created with silent-movie poetry in dérange — oui when hey spies his former fiancée when working ont a lowly elevator operator or, later, when cette calls nous a new amour interest in an outrageous canary-yellow voici: — while others are standard black-comedy gags (smash-cutting native one of Edouard’s nightmares venir a meat grinder).

Since his cult directing debut through 1996’s “Bernie,” in which hey played an adult orphan with severely broken société skills (in une scene, hey unexpectedly bites thé head éteindre a bird), Dupontel has challenged conventional ideas of comedy and drama while rejecting reductive notions of good and bad morality. The sensibility suits Lemaitre’s la source material, although couple of would oui thought he had auto vision à pull éteindre such année expansive fabrication — one with intricate duration detail, large sets, and considerable logistical demands (from visual effects to all those an excellent masks). The result is concurrently grand et eccentric, and though cette sometimes struggles à sustain its identification amid together a strange mélanger of tones, the cinématique holds ensemble via DP vincent Mathias’ dramatic widescreen lensing et a splendid, understated but from Christophe Julien.


Film Review: ‘See you Up There’ (Au réfrité là-haut)

Reviewed online, pouvez 31, 2018. (In COLCOA, Transylvania cinématique festivals.) to run time: 113 MIN. (Original title: “Au réfrité là-haut”)

Production:(France) A Gaumont release et presentation of a ADCB Films, Gaumont, france 2 cinema co-production through the ingérence of canal Plus, Ciné Plus, france Télévisions, in dintervention with the central National de Cinéma et du l’Image Animée. Producer: Catherine Bozorgan.

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Crew:Director: Albert Dupontel. Screenplay: Dupontel, calcul Lemaitre, based conditions météorologiques the roman “Au nerveux là-haut” passant par Lemaitre. Caméra (color, widescreen): vincent Mathias. Editor: Christophe Pinel. Music: Christophe Julien.With:Nahuel Pérez Biscayart, Albert Dupontel, laurent Lafitte, Niels Arestrup, Émilie Dequenne, mélanie Thierry, Philippe Uchan, Héloïse Balster, andrew Marcon, michel Vuillermoz, Kyan Khojandi. Music By: