If anyone likes Jean-Pierre Jeunet (Delicates, Amelie, Long Engagement), then I highly recommend watching this film, which for some reason at the box office was called “Losers”, although even without knowing French, we can assume that Micmacs à tire-larigot should be translated differently. Basil’s father blew himself up, defusing an anti-personnel mine, he himself got a stray bullet in the head when he leaned out on time into the street from the shop where he worked. He went to the hospital, the bullet was not taken out, he was left without a job, without housing and without things that his “hearty” neighbors had stolen from the basement where they were taken. He found himself on the street, where he tried to make money by imitation, until he was picked up by a former thug Kichman and taken to his home, where he lived almost a family with completely original personalities who restored junk and sold on the cheap. Accidentally driving past corporations, he suddenly decided that he had to take revenge on them. And that's where it all started. The film most of all resembles a circus performance, where everything is worked out, even the skills of actors of this kind are involved. In the end, our gang gets their way. They play great, starting with Dani Boone playing Basil, and ending with Michel Cremades playing Little Pierre making wonderful mechanical dolls from all sorts of junk. You can talk about each character separately, but it is better to see. However, I will say right away that the film is not for a wide audience.
I don’t like French cinema in general, but it has its own characters (Richard, Funes, etc.), and it also has a young child and a loser, Jeunet. I don’t always like his movies (depending on my mood), but I can’t forget them. I am sure that if there was less trash in his films and more love, he would become a French Car-Wai. I think they have a color connection. The movie Losers is colored in green and yellow, and sometimes orange. Kar-Vai’s films are also painted in yellow, green and red. Only Kar-Wai doesn't have trash, maybe it's not even a bad thing. My blueberry nights, damn it.
Losers! Boone's hero gets shot in the head, but stays alive. He loses everything and later meets a handful of people who live in a trash can. Together with them, he decides to fight the country's largest arms manufacturers. Naturally very unusual methods. What if his new friends are very extravagant guys? Let's remember at least a snake girl who lives in a refrigerator.
Delusional, but crazy yellow and green, so cool. And rubbish in this movie is just a shovel. Some little pieces, spoons, cogs, buttons, walking chairs, glands all around. And with the help of all this garbage, the heroes become happy. We all throw them in the trash, and one old loser sits in a chair and enjoys all this garbage. One after another. They live in garbage. It's like a comedy, but somehow it gets sad. I really don’t know what genre this movie is. Author's cinema in the best traditions of the main garbageman of cinema. He still showed his garbage in short films and conquered everyone, by the way.
It was a long time ago when Amelie had not yet crooked happy into a camera on a bicycle. It was so long ago that when Dominic Pignon appeared in the frame, it became even more sad because he is already gray, but his eyes are as shiny as in the short film where he showed what he likes to do and what he doesn’t like to do. But the parade here is ruled by the dreadful Dani Boone, who for some reason ceased to be terrible even in “Bobro Rust”, and became a very nice loser, who is pleasant to watch. I mean, he's playing well...
Losers are a movie for losers. Movies for those of you. The movie is for those who love Delicates and want to see City of Lost Children. The film is for those who understand that the best shot in “Amelie” was when the little pig (also garbage) came to life and decided that Amelie fell in love. The film is for those who look not in the middle, but on the sides. And there is no unnecessary garbage, except for Wife, of course.
Why do I love Wiena? Little change. For other directors, this trifle would remain a trifle, but only for Zhene the trifle becomes a magical moment in the film. In “City of Lost Children,” a flea was a trifle. In "Amelie" - a trifle was counting female orgasms (12 and such a smile). And here in "Losers" - a trifle was Boone's song - "Oh, that woman-snake" It seems to be stupid, and without it it it is simply impossible to imagine a film for Wife.
Why do I love Wiena? For trash and for color. He has very stylish films and they were stylish even when he was shooting on a small budget, but always with a lot of trash. Why do I love Wiena? To Dominic Pignon, because he's a great actor, and if you don't agree, go vote for Summer. Why do I love Wiena? Because he's the only one. A loser is a boy who doesn’t want to grow up and wants to dig in the trash. And sometimes he becomes romantic. And it pulls me to citizen Poulin, because this is his best film.
And Losers? It's not his best movie, but it's his movie. This can be understood from one scene when Pignon climbs into the gun and flies, but does not reach. Everyone would stop, but Genet continues and again Pignon climbs into the gun. And then he gets in again, and then Boone gets in because Pignon is fat. That's why it's funny. This is the magic of the director. Do something that no other director will do. And only because of the small political subtext in the film I can not give him the maximum assessment.
How can you cry for small things? Wife can. Very good movie for good people. And in the end, you can let a tear. Not because of any drama or sadness, but simply because the dress dances by itself. So warm and good in the soul becomes. Jacques Tati should have seen it! That's why I love my wife.
Knowledge is power! (c) someone
Garbage is power!
They say that at least once in life, fortune knocks on the door of every person. Basil hasn't been lucky since he was a kid. And when it seemed that right here and now he will be lucky, which is bad already tired, we should have invited a moment of joy to the stage, covered such a wave of fiasco that you can choke on depression. An accidental bullet that hit Basil’s head changes the situation for the worse: the consequences of the wound are horrifying, the hero loses his job, as well as his home. Basil, who found himself on the street, lost everything (which was not enough), suddenly begins to get lucky. To be lucky for people - open, generous and in their own way talented, albeit homeless. The fateful tragedies in his life occurred through the fault of certain people whose activities indirectly influenced the turns in his life. And now a little man, who is absolutely helpless in the face of the powerful, begins to confront evil. And Basil is again lucky here, for there is readiness with opportunity. A plan of revenge is absolutely impossible. It is necessary to ride a greyhound horse, blindfolded, drunk and hit the target on the first attempt - about so high the chances of success in this enterprise. But the hero is now lucky from time to time, thanks to his unusual talents, thanks to the help and support of strangers who unexpectedly accepted him into their peculiar family, thanks to the need to triumph of justice at least in the cinema.
This is France, this is a comedy directed by Jean-Pierre Jeunet. It is a great pleasure to see such a movie. The wizard who gave us “Amelie” decided to tell another fairy tale, slightly confused, intelligent, not deprived of a healthy sense of humor. Same color scheme, same style, many of the same actors from "Amelie," the same feeling after watching. It’s nice to watch this movie, it’s nice to listen to the dialogues of the characters, plunge headlong into a world that is much more beautiful than ordinary.
Primitive fairy tale pro battle of the beaver with donkey
Remaining wildly enthusiastic about Delicates, I was happy to discover a creation in Zhene called Losers and began watching it in joyful anticipation. At first, everything went well - a juicy picture, recognizable author's techniques, texture characters, each of which has its own story. But after about half an hour of viewing, I began to catch myself thinking that I could see almost no content behind this bright form. The plot is there, but it is so simple that even “spongeBob square pants” in comparison with “Losers” seems filled with deep philosophical meaning. In fact, most children's cartoons are much deeper and more interesting, I can only compare with Tom and Jerry - there is a bad hero, there is a good one, they oppose each other, the good ones make all sorts of bad things bad, and it is easy and pleasant to laugh at the bad ones. But if in childhood everyone was rooting for the mouse, then the older they get, the more sympathy they get for the cat, just as here, having in mind the film “Arms Baron”, you understand that gun dealers can also be good guys.
The moral of the movie is that making guns is bad. Or that evil will be defeated and laid out on YouTube. Or that you could break into the villain's house by distracting the guard with a prostitute. I repeat – for me this film turned out to be a candy deception, under the bright fantic of symbolism and visual images there was a dummy – a foam ball.
The genre of the film is declared as a comedy, humor seems to be present, but it is so primitive that those who laugh when they hear the word “pooch” can laugh. The actors are imposed a somewhat theatrical manner of play, all emotions are deliberately hypertrophied, no one talks calmly, everyone screams, laughs, turns their eyes and gnashes with their jaws, no halftones, only gaggy and bright - and you get tired of the combination of this game and the visually loaded picture very quickly - to be honest, I was glad when the film ended, to sit in silence and look into the black screen.
Perhaps this film will appeal to those for whom the plot is secondary, I am sure that the children would be delighted with so many visual niches, which are full of “losers”, but past me this bright and thundering music circus van drove without catching. Maybe it's because I don't like the circus.
It's a movie forever. Once every two years to come back to him and remember: good will win, evil will be punished, the little man will be the happiest, the big man will eat shrimp - miserable. Pulses and wars will be engaged not only gunsmiths – they will be joined by politicians, journalists, the public. They will be confronted by those who are called losers. But luck is on their side. At least in the movies. Our translators got it wrong. But the dubbing did not confuse and twisted Russian proverbs into the plot - tried.
I knew Lafayette didn't sell rags, they sold bombs. The landfill under the bridge is much nicer. Paris is a city of subways and bridges, somewhere on the outskirts, real and a little cold. The dress is spinning in the waltz. But before that, one of the most beautiful kisses in the world of cinema. Under one of the best soundtracks in world cinema. Jean-Pierre Jeunet tried.
The perfect work of directors and directors. Each frame can be slowed down and viewed under a magnifying glass.
After a wonderful "Long Engagement", apparently Jean Jeunet did not very successfully choose the topic for the story. No, there was certainly something pussy about this sharp story about the strange world of arms dealers, extremists and the hero who encounters them, having all the biographical prerequisites to hate any kind of arms trafficking. Jean Genet’s ironic handwriting gave every reason to apply parallels to True Lies. In fact, everything was pretty nicely played. Stylistics is already formed. But with all these cute and already familiar tragicomic author’s bells and whistles, the film could not go beyond a very modest plot. Therefore, all the bonuses focused on the original illusionistic atmosphericity of Zhene and extremely confident Omar Si (here she is a real modern European star).
Now is the time to clarify with me the secrets of Jean Genet. So, first of all, the film is not as good as his previous work. But, at the same time, directing is definitely on top (albeit at the expense of the main canvas of the narrative). I will also mention the absolute absence of a constructive component – all these anti-militarist “veins”, to my taste, are nothing more than a passionate intellectual pacifier. And the proposed action turns out to be nothing more than a funny thing in itself. It is not a matter of grace, but of little importance. Perhaps that is why, in the end, a strange aroma of understatement prevails – having shown all his potential, the director did not penetrate too deeply this time. However, to my taste, and “Amelie” was not very intellectually rich.
Fans of Jeunet will be delighted with the film. The same techniques, manners and magical atmosphere that is the hallmark of his films.
A kind, fairy-tale picture with elements of comedy, with good acting and camera work, funny, clearly drawn characters, and all this charm against the background of topicality, which will not leave anyone indifferent. I myself have always been surprised by the audacity and moral stupidity of arms corporations, the sale of weapons from under the floor, and then terrorists or the army of neighboring small states, which sometimes happens the same thing, openly use them for their intended purpose, and the authorities do not turn a blind eye to this, they keep them open in order to get a rollback in time. Other people's lives, for profit.
A handful of people living in the dump, the so-called losers, enter the fight against the arms barons, having in their arsenal all the landfill utensils, they give a worthy battle of immorality, cruelty and a dull thirst for profit. I really liked one of the characters, such a subtile man, a master of all trades, an inventor and an artist, and he was endowed with the ability of the ant to lift, without much effort, bulky things, it looked, every time, very hilarious. And in general, the whole company of fighters for justice was very bright and each was talented in his own way, complementing each other.
I really like how Jeunet presents his films, specifically “Losers”. For the viewer, this film can become purely entertaining, the more there is a touch of French cinema, loved by everyone, there is an extraordinary approach to shooting, which will take into account and appreciate the gourmets, and there is not a joke semantic load, which may become fundamental for the viewer, or may not become, the choice is yours - you can mix all this, or highlight something separately for yourself, the director does not insist on anything and most importantly, the film will not lose its unique fabulousness and will not lose any other film in the fascinating, the viewer is satisfied in any case. This is the case when the film is made neither for the box office nor for art, and all this is for the viewer, for us. My wife is a creator, that’s for sure.
Enjoy the viewing!!!
In art there are such concepts as the literature of the absurd, the theater of the absurd. If I were asked to describe the style of Jean-Pierre Genet, I would refer his paintings to the cinema of the absurd. Of course, the postcard film, the business card film of Jeune – “Amelie”, but in “Losers” his style, in my opinion, is manifested in full.
I would like to compare this director's work to some chair play. In the course of Zhenya goes everything: puns, absurdities, hyperbolization, sharp and sometimes very borderline humor. You watch “Losers”, and involuntarily begin to smile, as if you are sitting in a cozy bale, where there is some almost family cabbage with jokes, jokes, hamstrings, with various twists.
Partly, Losers looks stylistically or even more atmospherically like another movie starring Danny Boone. I'm talking about welcome. There is the same kind, sometimes naive and funny with the transition to an absurd situation.
Alas, in terms of classiness, the Losers are noticeably inferior to both Beaubro and Amelie, but this does not make this picture bad. This is a very good vaccine for bad mood. Especially if you like to fool around sometimes, Losers is your movie. It's playful, funny, positive. It's very French. With great French actors who, for the most part, wander from one film to another. Apparently, they share this eccentric directorial view of life.
Aeschylus killed a turtle that fell on its head. Jean Baptiste Lully earned gangrene by hitting tact. Friedrich Barbarossa forgot to take off his armor while crossing the stream, and I will die of fear because I am such an idiot.
Yes, as the slogan of this picture says, "Luck smiles strange." And if she doesn’t smile at them, then “strange” still sometimes lives easier than “normal” and “ordinary”. It is important not to be afraid at least sometimes to be strange.
7 out of 10
I titled this review because this film is even more original than the same director’s famous Amelie. “Amelie” is one of my favorite films, but they are not penetrated by the entire audience, and even “Losers”. Even I found it a little strange.
Basil's father was blown up by a mine when the hero was young. And as an adult, Basil catches a random stray bullet while in his workplace. And everything went awry - they evicted from the apartment, fired from work, and left a bullet in the head with a small mark - it can end the hero's life at any moment. But fate did not let Basil get bored - he meets people like him - those who have not found their place in life.
And we come to the world of these people who live in a landfill (I don’t know how to describe it more accurately). They're all very shots. Silent artist, sculpting the most complex mechanisms, living in his creative world. A caring woman who displays excellent culinary abilities. Surprisingly flexible gymnast with a difficult childhood and, as a result, insecure. And others who, under strange circumstances, were not lucky. And this is quite vital - how many really talents that do not find their realization.
The plot is very funny - angry at the entire arms production, Basil decides to take revenge on both mine manufacturers and weapons manufacturers, the bullet from which is in his head. And he, together with his eccentric comrades, opens the fight against two global evils - the barons of the military industry. It is amazing what the ingenuity of the main characters, the ingenuity of plans and the brilliance of execution reached. I want to say, “Oh, what people are missing!” And the global morality of the film I see is this: society does not need weapons, down with war. A good message to the cinema is always valuable.
When it comes to humor, fans will certainly appreciate it. Subtle hints and irony glide through many phrases and actions. I really liked the Negro, who passionately remembers and applies proverbs and sayings everywhere, as well as the rich man who collects parts of great people (as they say, he has a molar tooth of Marilyn Monroe, but Mussolini’s eyes are missing).
The film is interesting in history and turn of events, makes you closely follow what is happening. It’s fantastically detailed – there’s so much to watch and notice. And, by the way, very similar in coloring frames to "Amelie".
It's a good picture, kind, sweet, charmingly extraordinary and ironic. Amazingly fabulous. Small people against the masters of life, so touching and topical. Jean-Pierre Jeunet is unique. For those who love French comedies - recommended for viewing.
7 out of 10
When you watch a movie at a lecture (and in the background 4 meters away from you, the teacher says something about some internal noise of radios), it is difficult to be objective. And not because you do not follow the film well, but because the situation does not allow for versatile observation. An inflated state is usual for that, sits on an unloved occupation and tries to have fun with all his might.
As entertainment, the film was a success. Its color scheme (predominant ochre and gray) relaxes, calms, inspires confidence. And then, it is impossible not to mention the acting – somewhat grotesque (apparently, this is what gives the film the color of comedy, although there are not very many funny jokes), but funny and cute. In French films, it is not customary to divide people into good and evil. The positive and the negative are somewhat blurred, and we observe not so much a dichotomy as a sequence of amusing moments, alternating with sad, romantic, curious or there-apparent-will be what.
But the story was secondary to me. It’s funny, of course, the characters turned their scam, but it’s more interesting to watch them just in action than to try (especially if there are people around) to analyze the plot and intrigue entirely (although it is simple, which is nice).
But I’m sure I wouldn’t get bored watching it at home, in a quiet environment that allows me to take a closer look at what’s happening on the screen, not least because of the film’s exterior, quality and French playful-natural performance. I admit, I love that. And if you are interested in how small people do their small on a global scale, but important for a particular history of the case, as well as not indifferent to a beautiful picture - cinema for you.
I am not crazy, I am a sensitive soul in a flexible body.
A wonderful film of those, which, unfortunately, there are not so many: about a small colony of freaks who, despite adversity: lost in a mirror maze of children, bullets in the head, the inability to speak other than idioms or the fact that you constantly lose certificates – still continue to do what they know best in the world.
They really know how to live.
Here is what is always Wife: if it is not real life, then this is, say, the life in which you want to believe.
A world in which good can win, where every freak will find a girlfriend, and life will be full of pleasant and not very unexpected, and you can die every minute, but you will still be happy.
It's all just incredibly beautiful. All these mechanical robots, dancing dresses and girls in funny hats.
This movie is not even about revenge. It's about learning how to live.
Because you may have lost everything.
But when was that enough reason to leave the race ahead of time?
10 out of 10