Film Mélo: Violinvirtuose Marcel trifft auf Erster Geiger und verliebt sich in dessen Frau. Liebesdrama von Alain Resnais ironisch umgesetzt. Mélo. Experimentelles Dreiecksmelodram von Alain Resnais ('Hiroshima, mon amour'). Bewertung. Stars. Bewertung. Redaktions Kritik. Bilder. News. Kino-. Filme · Kinderkino · Events · Bonusmaterial. Kalender. Filmpodium. Kino/Cinema. Standort/Location Zurück. Mélo. Alain Resnais (Frankreich ). le film MELO m' a beaucoup plu. Les acteurs Sabine Azéma, Michel Dussolier et Pierre Arditi sont magnifiques. La fin qui est un dialogue entre les deux acteurs. Filme · Kinderkino · Events · Bonusmaterial. Kalender. Filmpodium. Kino/Cinema. Standort/Location Zurück. Mélo. Alain Resnais (Frankreich ). Film Mélo: Violinvirtuose Marcel trifft auf Erster Geiger und verliebt sich in dessen Frau. Liebesdrama von Alain Resnais ironisch umgesetzt.
Melo Film Navigationsmenü VideoQualunquemente Cetto Laqualunque e la fidanzata di highdesertcorvettes.com! The mis-en-scène rules this film - it's a very big plus. s interiors, artworks, multiple mirrors and every shot framed meticulously. It's deliberately stagey, being closely based on a play from the 20s and even gives shots of a proscenium arch and curtains from the point of view of a theatre audience. Ironically it's the varied placing and /5(). Mélo est un film réalisé par Alain Resnais avec Sabine Azéma, Fanny Ardant. Synopsis: Pierre, violoniste, invite un de ses amis virtuose, Marcel, à dîner et lui présente sa jeune femme 3/5().
Ein solchen Kraftakt brauchen wir jetzt Melo Film. - InhaltsverzeichnisRomaine packen Gewissensbisse, und sie geht in die Seine.
In den meisten FГllen werden die Casino-Mitarbeiter sehr Melo Film, ist eine Melo Film im. - StatistikenTeilen Twittern Mailen. Vergiftete Wahrheit. Für das Dialogbuch und die Synchronregie war Mina Kindl zuständig. Filmdienst Plus. Doku bei ARTE.
That's something I'm absolutely positive about. Beautiful staging, though. Reviewed on Cinema Eclectica.
I remember reading a review of Radiohead's Kid A when it came out which accused the band of "playing with one hand tied behind their backs", an accusation which now seems almost magnificently off-base.
It definitely fits for this mid-period Resnais, in which a man whose debut film opens with one of the most remarkable montages ever cut together has apparently thought, eh, maybe just don't bother editing?
The entire first sequence is a carefully studious workaround the degree rule, which is only initially "broken" as a character starts telling a story with punctuated elements of the cinematic language close-ups, movement, changes in perspective, etc.
Its willingly exaggerated romantic tragedy functions within levels of text that allow for such grand acting choices and inspired embellished writing, while retaining a certain earnestness despite the artificiality of it all.
Beautiful sets and dramatic lighting changes, too, fully taking advantage of the stylistic disposition. Might as well be my favorite melodrama since Lorde's.
Theatrical, melodramatic dramaturgy and artificial settings laying the perfect structure for Resnais to exercise his masterful formal ventures. So preciously beautiful.
A key transitional text for Resnais, I'm told, moving from his more "serious" work of the s to his more playful work here.
This is a very heavy text, however. Perhaps too heavy, and I'm not sure what to make of Sabine Azema's character: plight of woman tragedy or trading in somewhat mysognist tones?
She's necessarily abandoned for the third act as marked by the curtains , but I'm not sure whether Resnais or the play treats her as somewhat of a plot point more than a character.
What's fascinating to me at least is Resnais's defining trademark as a filmmaker has always been his editing patterns between dissociative spaces whether the open 25 minutes of Hiroshima Mon Amour or the….
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Resnais invests the original meaning of "melodrama" drama with music with exceptional beauty and power, cutting and moving his camera with impeccable dramatic logic to give their performances maximum voltage.
Jonathan Rosenbaum. Fernando F. A beautifully acted and astutely observed romantic drama. Rob Aldam.
What's miraculous about Mlo is that the material never grows hysterical and feels blocked in or trapped by the stage. Jeffrey M. It dishes out dollops of pain from among the Brahms' sonatas, and melodramatics that were dated long ago.
Dennis Schwartz. After Marcel returns from a concert tour and Romaine stoops to a new low in abandoning Pierre for an assignation, she reconsiders the affair and takes a drastic step.
Three years later, Pierre pays Marcel a visit to demand the truth. Will the jealous and aggrieved Marcel manage a convincing performance?
The title is a chic abbreviation for 'melodrama', of which there's no shortage in this urbane period piece about a lovelorn musician enjoying an affair with the wife of his best friend.
Director Alain Resnais makes no attempt to open up Henry Bernstein's stage play or hide its theatrical trappings, going so far as to fade in and out of a shot of closed curtains between each 'act'.
The story offers plenty of food for thought, but the nuances of each relationship are undermined by the often dry and detached script readings, punctuated by moments of deliberate histrionic overkill, most of them provided by an all-too animated Sabine Azema, playing the wife of one man and mistress to another.
Nevertheless it's a welcome return to Earth for an erstwhile pioneer of some of the most opaque French New Wave cinema, showing a subtlety rare even for such highbrow entertainment.
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Download as PDF Printable version. Marin Karmitz Catherine Lapoujade executive producer. Alain Resnais Henri Bernstein play.
Er arbeitete dabei zum dritten Mal mit der gleichen Besetzung zusammen. In Deutschland kam der Film am Januar in die Kinos. Fanny Ardant rage unter den Nebendarstellern heraus.
Für das Dialogbuch und die Synchronregie war Mina Kindl zuständig.