A bad feeling appeared on the second frame of the film. Immediately after the camera in the foreground enjoyed the beauty of the face of the young actor Benjamin Voisin, in the second frame we will be shown his hands with picturesque, love-filled mud under the nails. Remember, the audience: our hero Lucien is handsome, but works as a typewriter - this is one time. Two: Angel-like appearance hides inner impurity. The vulgarity is teeming. All right, let's go. Everything would be fine if this mourning border was not so designed against the background of snow-white finger cushions. That's the movie. It will continue to be the same.
Metropolitan Paris frightens the provincial from Angoulem with a bubbling street crowd and unimaginable chaos. People on the streets are ponds, horses from all sides are galloping like catechumens, not obeying traffic rules, which simply do not exist. One episode, three plans. Further, no character will enter a single frame with heat - with heat. No one will ever bring street chaos and confusion into the interior frame, from which he just emerged.
Paris is a theater boom. Dozens of small boulevard theaters invite visitors to their home, acting out scenes before the entrance. One episode, three plans. Inside the theaters, there are no echoes of these homegrown advertising campaigns. No character, even on the farthest plane, will seem accidentally lost. Everyone came according to a predetermined plan.
Paris of the early 19th century - a city of monstrous impassable mud even in the center. One episode, two plans. Monsieur in exquisite pantaloons and ladies in wide dresses gallop on boards, thrown through the Gargantuan-sized puddle. Where does this dirt go next? Where traces of wax from candles burning everywhere, where drops of fat from food eaten almost in the dark. In the frame - a modern extra, dressed in a specially sewn dress. Now they will take off and go to their Paris, where there is no dirt, no candles, no horses.
This is a great example of a comic book movie. Whatever the episode is a separate topic, little related to the previous action. It is believed that one of the main features of the profession of a director is the ability to build each individual frame and episode in strict accordance with the overall style and idea of the picture. Giannoli is a master of clip or comic. All his interests are built around a short sketch. How this sketch looks in the general series is no longer so important.
This flashiness of the worst taste is in absolute symphonic harmony with the plot and emotional content of the film. In his novel, Balzac described the time when the first rules of the information society were born. Paris, France was the first to discover that newspapers can buy both positive and negative responses to their product and competitors. Even the first nonlinear technologies appeared: planned scandals to raise interest in individuals or performances. It's all in the novel. It's all in the movie. Moreover, the manipulation of public consciousness by the media is a topical topic for today. The difference between literature and cinema begins. For Balzac, the world, which almost excluded the truth in artistic creation, was an example of a spiritual prison from which it is impossible to get out. You can only find a place closer to the window to breathe fresh air at least occasionally. That was the place of the writer himself. In the movie, everyone is corrupt, everyone lives with pleasure in the paradigm of “loves – does not love, spits – kisses”. Who is manipulated by the all-powerful press, guess what. Manipulators are thoroughly cynical: friends and opponents are appointed by verbal agreement and live according to these rules. Everything.
A separate story: the confrontation between the conservative royalists and the new Republican Democrats. Provincial upstart Lucien has to make a difficult choice: to move from the camp of the “free press” to the camp of the “guardians”. There is no difficulty in the world of film such a choice. All one world of mud. Everyone wears the same dress, everyone visits each other. Therefore, the scandal around the world with finding out the true author of the feuilletons is another comic episode. That's right. This is another cartoon on the topic of relevance of the classics. Conservatives are at loggerheads with Democrats around the world. And if some people, clothed with titles and money, get away with everything, a parvenu-upstart will not forgive anything. This is Balzac, reduced in his teachings to the level of the fairy tale "Kolobok"
An additional temptation is to beat the title of the film, applying it to your audience hopes and expectations. But I will. “Lost Illusions” is not only the name of the film, but also a novel. But, unlike the painting, it is really big.
Still, leftism in the artists of the Fifth Republic sits quite firmly. This picture received the national award “Cesar” (the French equivalent of “Oscar”) at the end of last year. From Balzac’s long novel, which did not claim to be more ideological, as, indeed, most of the novels of this classic of literature, the authors of the film made a rather tough anti-bourgeois and partly anti-monarchical pamphlet (the pathos of the revolution of 1789 is unshakable).
The film is made with great attention to detail, the color of the era, the facial expressions of the characters - no unnecessary grimace, no unnecessary body movements. Moreover, each episode lasts exactly as long as it should – in direct contrast to Balzac’s novel, which squandered ink on the description of small details forgotten seconds after reading.
Another difference between the film and the novel is that characters that are not suitable for ideological reasons are removed from it. For example, David Sechard, a friend of the protagonist Lucien de Rubampre. Although in the novel, David is drawn to the key character. In general, the creators of the film went by the formula “three in one” – three heroes of the novel fit in one – Raul Nathan, on behalf of whom the story is being told.
The filmmakers retained the title, but gave it a different meaning. If Balzac poet Ryubampre loses illusions in love, then in the film directed by Giannoli he is disappointed in the cream of Parisian society, the bohemian public, the bourgeois and even a little in the political order. In the tape, of course, there is the collapse of illusions about Laura and Petrarch of a new era, but again through a deep social filter - "What did they do to us?" - exclaims in despair the first love of Lucien - noblewoman Louise.
In the film, Gerard Depardieu was noted as the owner of the publishing house, who cannot read, but is perfectly able to count money. The award “Cesar”, as the best supporting actor received Vincent Lacoste, brilliantly played the role of editor Etienne Lusteau. To be honest, one who deserved more. But, apparently, the award jury found it inappropriate to give an award for best acting to a non-leading actor. Well, the victory of Benjamin Voisian, the performers of the role of Lucien, in the nomination “Most Promising Actor” looks like consolation. He played well, even well, I could say. But clearly did not reach his hero - rushing, suffering, rushing into the pool of risky intrigues, a poet. Torn apart his poetic nature. All this is clearly conveyed by the camera work, costumes and paints - they were also noted by "Cesar". However, this is, apparently, the drama of today’s anti-bourgeois cinema – when the main role requires an inner spark, fire, persuasiveness from the viewer – he simply cannot but find them at home.
But the performers of female characters are selected amazingly - Monsieur knows a lot about ladies! Both young actresses (Salome Devael) and famous (Cecile de France, Jeanne Balibar – she is also a good singer, by the way) did not shade the male heroes, but perfectly complemented them. This means that the film is sustained without fashionable, but murky lies. For this, the creators are put additional Mercy.
The trailer of the film “Lost Illusions” I saw accidentally and briefly, on the TV screen in the city cafe. He intrigued me immediately. A young and talented poet sets out to conquer Paris. Oh, poetry and Paris in the same bottle. My two big passions were the reason I wanted to see the movie.
The film goes on for two hours that flew by unnoticed as it completely immersed me in that era. Returning to the world around, the first few minutes went outside, could not understand where the carriages.
The film is based on the novel by Honore de Balzac, from the cycle “Human Comedy”. The film takes place in the nineteenth century.
Young, thin, sensual Lucien, falling in love with a noble lady older than himself, dedicated poems to her. He was even featured in the local newspaper as a budding poet. But after fleeing the province for Paris in search of happiness, the young poet is confronted with the brutal reality of the capital, which shatters his illusions day after day. He learns how everything is bought and sold, including love. To print a book of his poems, the young debutante must first glorify his name with scandals and make a good enemy. Otherwise, no one will buy and read it, so the printing of his book does not benefit the publisher. Lucien plunged into an unfamiliar world. The new rules of the game captured him, and unfortunately, he had no time for poetry. He did not write a line, except for critical articles in the opposition newspaper, which brought him a good income.
When a creative person goes into criticism of others, his creative energy dries up.
Only the finale of the film gives hope that in the bosom of nature and away from the passions of Paris, he will again begin to write pure poetry.
The film is full of love, fear of judgment, hopes, nakedness of soul and body, horses and carriages, beautiful dresses and poverty, laughter, envy, contempt, money, wealth, faith, naivety, illusions, losses, the interweaving of desires of people and the rules of the environment.
Who is man with his aspirations when he meets the reality of the world and society?
Honore de Balzac wrote the novel of the same name in the early 19th century. At that time, France seemed to revel in the prosperity that capitalism brought. Director Giannoli showed the world of Paris, where everything is for sale. A sell-out world where even the estate and title play a lesser role if they have no money. Provincial poet Lucien Chardon (played by Voisin) in Paris becomes journalist Lucien de Rubompri. The selling press in the world of money plays the role of a scandal engine. Yes, the film raises themes of venality of the press, intrigue at the court of the king, creative crisis, debauchery. Young Lucien could have become a professional Alphonse, but he got into a world of corrupt press, where a sharp tongue is valued. The French made a film about youth, lack of money and at the same time the love of rich women for young people. I liked the film because it raises themes of capitalism against the background of the 19th century.
It's social. A film about how youth and naivety are sold in a world of hardened cynics. If you are young and have no money, only your tongue, your sharp word, can feed you. The sell-out world of Paris seems to feed on the naivety and purity of visiting provincials. Director Giannoli focused on the press and the King's opposition, which thrives in Paris (but which is dead in the provinces). The press and the purity of the young Lucien at the same time. It shows how it changes under the influence of money and fame in a corrupt world. I like the phrase from the movie: “When the last hope dies, man begins to live.” The last hope, the illusion in a world where everything is for sale, seems to fuel the cynics of Paris. Holiday Paris is addictive. It forms a layer of people who can only spend money, but do not know how to earn it.
Holiday Paris is like a swamp that sucks in the pure souls of the provincials. “We need a scandal, otherwise no one will watch or read the play or the books.” "Selling scandals" - does that remind you of anything?
Actor Voisin well played the provincial Lucien in idle Paris. For a long time, there were no such films exposing the cynicism of capitalism. I liked the film for its morals.
Brilliant adaptation of the ever-relevant novel by Honore de Balzac
Everything is rotten, but beauty in the world does not disappear.
Before I lay out my admiration, I will lay out the bare facts, which are already enough to go to the cinema. First, the new film Xavier Giannoli became a triumphant of the main French film award “Cesar”, receiving seven awards, including the title of best film. Secondly, the picture turned out to be more rigid and frank than its literary source, but it does not dispense with blasphemy towards the book. On the contrary, the courage of the director reveals new facets of the familiar text, and therefore, despite the scenery of the XIX century, the story looks extremely modern.
“Lost illusions” are bribed by this: the film reveals timeless and at the same time topical topics – from opportunism, political prostitution and the venality of the media to the search for one’s own purpose, internal transformation and the struggle of the creative principle with the thirst for profit. In many episodes, I saw myself naturally: I won’t go into details, but those with a journalistic background will find a special response. Hundreds of years later, nothing has changed: the same dirt, money and lust. But Xavier, as a true genius and a true master of his craft, knows how to find beauty even there.
The director shades the ugly behind-the-scenes games with a golden shine of candles, vulgar kisses - with a bizarre sparkle of champagne bubbles, the frightening gloss of high society - with elegant costumes, low attacks - with noble intentions, disgusting provincial poverty - with daisies drenched in the morning light ... The more opposites it confronts, the more real the world becomes in all its diversity of shades. Impeccable work.
In the pursuit of dreams, the main thing is not to go too far.
Lost illusions could not pass my attention for several reasons. Let’s start with the fact that the film is based on the novel of the same name by Honore de Balzac, which in itself is intriguing. The director is none other than Xavier Giannoli, winner of the Cannes Film Festival, as well as other prestigious awards. Finally, the cast includes both young promising stars (Benjamen Voisin, Salome Devael) and well-deserved celebrities (Xavier Dolan, Gerard Depardieu). So the film definitely fell into the category of mandatory viewing, and now we will talk about it in more detail.
The main character, Lucien Chardon, is handsome, smart, charming and talented. He has an innate talent for writing, which, under proper guidance, can lead to outstanding creative results. However, in his native province, Lucien has no chance to break out into people, and therefore his road lies in Paris, where dreams tend to turn into reality.
Having very serious acquaintances, Lucien began step by step to improve his status among the elite. He accepts extraordinary offers, seizes every chance that allows him to build a successful career, but at the same time the young man realizes that he is beginning to lose himself. Communication with lustful, tough, dishonest people seems to undermine it from the inside, but when success looms on the horizon, it is very difficult to stop.
From the first frames of the film, it is clear that he was filmed by a real master of his craft. Xavier Giannoli over the years not only did not lose his former ardor, but it seems as if he even doubled it. The director savors the heroes and landscapes that are at his disposal, tries to show all the beauty and brilliance of high society, but does not forget that in any story there should be morality. Balzac had it, and quite bright, sharp and fair. He also tried to show it in his film with Giannoli. With the help of the play of light and shadow, musical accompaniment and various dramatic techniques, he thickens the colors, and the closer the climax, the more the stakes rise and the tension grows. The transition from light to darkness is quite smooth and at the same time tangible. Bravo, director! You have conquered me again.
As for flirting with Balzac, the knowledgeable viewer will notice some elements of the discrepancy between the cinema and the literary source, but all this does not matter much, since the director perfectly understands what he wants to show his viewer how to reach him and how to surprise him. Some aspects of the film adaptation are more rigid and candid than those of Balzac and this enhances the impression of viewing. At the same time, there is no sacrilegious attitude to the novel, since the film is its kind of complement, a bold look that respects the old canons, but is not afraid to reveal the story from the point of view of modern man.
Overall, I can say that the film was worth it. “Lost illusions” will easily draw you into yourself, give you a few unforgettable revelations and once again remind you that always and everywhere you need to be yourself first. Do not chase incorporeal fantasies, be in agreement with yourself and watch only a good movie.
8 out of 10
At all times, people were drawn to the wealth and gloss of high society. Some were lucky enough to be born into a wealthy family and need nothing from childhood, while others tried to reach the desired heights in all possible ways. However, going to conquer the desired, tempting heights, it is very important to save yourself, because at some point you can break down and will never be the same again. And then you ask yourself – was this game worth the candle? The answer may be sad.
So, in the focus of an exciting, intense emotional drama based on the famous work of Honore de Balzac, is a young guy known as Lucien Chardon. His mother is the last representative of the ancient noble family, but nothing remained of the wealth and ties of ancestors. Lucien is forced to trample his way to the sky of capital life on his own, but the more he gets acquainted with the society he wanted to get into, the more he is disappointed in him.
Some plot motifs and dramatic truths never fade away, and Lost Hopes proves that. The film is based on the legendary work, written by a truly outstanding master of the pen of the past, but how amazingly the motives of days gone by intersect with what we observe in our time. Whether it is the 18th, 19th or 21st century, people continue to be the same as before.
If you are rich and famous, you have your own quirks. They can not only surprise, but also seriously frighten. And those who try to get into places where no one really expected them, can later change for the worse. And when the truth is finally revealed to such catchers of success and fame, it may not be possible to atone for some of their transgressions...
In addition to the brilliant dramatic basis on which this film is built, it is also necessary to note the excellent acting work that allowed Balzac’s plot to play in front of the audience with fresh, rich colors. In particular, I was pleased with Benjamin Voisin, who is gradually becoming a very famous actor, and I have no doubt that in the future he will have a successful and long-lasting career. The young man plays great, he completely reincarnated into his hero and experiences exactly the same emotions as Lucien Chardonnay. As the plot progresses, the guy’s view becomes more gloomy and dangerous, but the most important thing is that there is still good in his soul and it cannot be said that in his desire to reach heights, he completely dissolved. But at the same time, he committed enough misdeeds, and they will haunt him for a long time in painful memories.
To sum up, Lost Illusions was a film that was definitely worth the time. This is a beautiful, sensual and dramatic work that will linger in the memory for a long time, and without a shadow of a doubt I advise you to pay attention to this film.
9 out of 10
Unfortunately, playing two actors can't save the movie.
The film is very interesting.
First, the selection of the leading actor is not close to what the author described, speaking about the aristocracy of the main character (this applies to his appearance and his manner of behavior). Where is the noble paleness and longing in the eyes? Benjamin Voisen plays the hero’s experiences, he lacks sincerity and subtlety. His movements are crude and simple. It lacks grace and lightness, it looks angular. He's too manly for that image. Benjamin Voisin was very bright in the role of David, the burner of life, sensual and desperate guy in the film 'Summer'85' no doubt he has acting talent, but the role of Lucien Chardon de Rubampre, an ambiguous and inconsistent personality who tries to succeed in one or another capacity, not his. The problem here is not the actor, but the selection.
But there are two actors who liked the game.
The first of them is Xavier Dolan, who got used to the role of persistent, ambitious and outstanding Raul Nathan. His facial expressions, gestures, grace is just fascinating. Xavier’s natural charm and charisma were transmitted to his hero, as is often the case with talented actors who do not ' play the role' but ' live it'.
The second is Vincent Lacoste, who looks worthy in the role of Etienne Lusteau, a failed writer, but a deft journalist whose activities fit perfectly into his era. Vincent has a lively face, which perfectly reflects emotions.
But, unfortunately, the play of these two actors can not ' save' film.
Secondly, the technical problem of the film is the lighting. The twinkling light of candles does not allow you to clearly focus on the image, even when watching the film in high quality. In addition, the costumes of ladies from high society are quite simple and similar.
Thirdly, the abundance of erotic scenes is inappropriate. They are shot very vulgarly and frankly (one can say mechanically), which delays the already long film, without giving any information load. Often we see the main character on the screen in the nude, or in underwear, which is also not entirely clear. After all, this is not an erotic film, but an adaptation of the immortal French classics.
Fourth, the script strongly contradicts the novel 'Lost Illusions' Honore de Balzac, on whose motives he was filmed. Many heroes are missed, such as David Cechard, Lucien's mother, Daniel d'Artes and his members 'The Circle'. In addition, the film shows an intimate relationship between the main character and Louise de Bargeton, which was not in the book. A close friendship with Raoul Nathan is also a fiction of the writer. Also missed is the machination of the main character with bills of three thousand francs, which he secretly wrote in the name of David Sechar. It is also not shown that the sister's family financially helped Lucien. There are many other similar nuances. Classical works should be filmed close to the text, with minor deviations. And let the director’s vision manifest itself in the selection of actors, scenery, costumes, music, lighting (of course, not contradicting the era, which is being filmed).