The Truth About Charlie (2002) by Johnathan Demme
Charade remake with Audrey Hepburn and Carey Grant. I don’t remember well, so there will be no comparisons.
This is not the case at all.
First, this is a film dedicated to the untimely departed, my beloved Ted Demma, the nephew of Mr. Jonathan.
Second, it's just an absolutely wonderful movie, the birthday of the heart.
It's beautifully written, it keeps the whole road tense, it's international in the sense of cast and cast, and production in general, but it's very French, it's a lot of Paris, it was shot by the wonderful DP Tak Fujimoto, which Philadelphia, The Six Sense, but most importantly - incredibly stylish and very much loved by me directorial debut Tom Hanks That thing you do! about the 60s with the mind-blowing there Jonathan Shack.
Here everything is also amazing in terms of maintaining style, charm and Parisian chic (which does not prevent him from being an exciting action movie, a bit of a thriller, a bit of a farce (an amazing team of artists who dressed everyone just brilliantly (Wahlberg is especially good in tweed and beret), the most beautiful and feminine actress of our time, Tendy Newton (the last time I saw her in Crash, who has an Oscar - 2006 as the best film and where the most beautiful men in the industry, including Dillon and Phillipe) - she even then amazed me, Robberg, who is very beautiful here, in general, Steve Moore's is very beautiful, especially in this scene, especially beautiful.
Difficult plot, stunning turning points, a great finale about the brands.
Wahlberg, Newton and Robbins speak a lot of French, Wahlberg, despite being an agent and hitman in fact, is stunningly romantic, touching and quite sentimental. I love it when he's like that, not the stupid, aggressive, but brave Irish cop he often is. His chemistry with Newton is frantic, but he is a gentleman. Bravo, Markie, you are adorable.
This whole race with obstacles takes place against the background of the embankment of the Seine, Gare du Nord to the songs of Mr. Aznavour (for the appearance of the maestro himself in the final scene of Demme, a separate bow).
The film is very European, cinematic, very subtle and cunningly twisted, although the severity of individual scenes is quite Hollywood as it is. A marvelously harmonious interweaving. Ted would have loved it, he was like that.