rwkenyon-09484
dic 2020 se unió
Te damos la bienvenida a nuevo perfil
Nuestras actualizaciones aún están en desarrollo. Si bien la versión anterior de el perfil ya no está disponible, estamos trabajando activamente en mejoras, ¡y algunas de las funciones que faltan regresarán pronto! Mantente al tanto para su regreso. Mientras tanto, el análisis de calificaciones sigue disponible en nuestras aplicaciones para iOS y Android, en la página de perfil. Para ver la distribución de tus calificaciones por año y género, consulta nuestra nueva Guía de ayuda.
Distintivos3
Para saber cómo ganar distintivos, ve a página de ayuda de distintivos.
Reseñas4
Clasificación de rwkenyon-09484
I watched Madame Claude by Sylvie Verheyde, which premiered on Netflix on April 2, 2021. It's the second French biopic about "Madame Claude," née Fernande Grudet, who operated the most illustrious brothel in Paris for fifteen years in the 1960s and 1970s. The first, also titled Madame Claude, by Just Jaekin, dates from 1977 and starred Francoise Fabian. I wasn't sure I would like the new version since some of the reviews panned it, but I decided to start watching it to see if I liked it. I watched it all. I chose to see it VOSTF-- French dialogue with French subtitles.
The best thing about this film is that it is directed by a woman, Sylvie Verheyde. This is important, although little discussed by the (mostly male) critics and commentators, but I doubt that any male director could have enjoyed the intimacy with the almost entirely female cast: there is only one principal male character, the voyou (gangster) Jo Attia (né Joseph Brahim), played by veteran actor Roschdy Zem, who occupies a minor role, not to mention that most of the film ostensibly takes place in Madame Claude's maisons closes at 18, rue de Marignan, near the Champs-Elysées, and 32, rue de Boulainvilliers, a discrete location in the upscale 16th arrondissement.
A crucial aspect of the film is mostly ignored by the American audience or even by French people who did not live in Paris in the 1960s and 1970s, as I did. A Yugoslav, Stevan Markovic, a Corsican, François Marcantoni, President Georges Pompidou, his wife, Claude, and the actor Alain Delon were all involved in a bombshell scandal that erupted in 1968 and is evoked a background to the film to suggest Madame Claude's connections with la pègre, the French underworld. According to the Wikipedia, the affair began when one of Delon's bodyguards, Markovic, was found dead. Both Delon and his longtime friend Marcantoni were questioned by the police. Marcantoni was originally charged with the murder, but after further questioning by the police, he was released. Markovic's murder is still unsolved.
Most of the sexy scenes are near the beginning of the film. There are a few violent moments, but most of the film revolves around the entrepreneurial Madame Claude's business acumen and the "Claudettes" she recruited for her wealthy and powerful clients. That probably explains why so many of the male reviewers on IMDb stopped watching it before the end. But the end is worth the wait.
French actress Karole Rocher is excellent in the title role and will probably garner a César, the French equivalent of an Oscar, for her starring role as Madame Claude. The young Garance Marillier (born in 1998) deserves praise as Sidonie, the daughter of a perverted diplomat. The enigmatic Sidonie puffs or pretends to puff Virginia Slims most of the time. (I checked: the iconic cigarettes premiered in 1968, contemporary with the setting of the film.) Sidonie becomes Madame Claude's favorite Claudette and confidante.
There are several good articles online, some with cheesecake photos, about Madame Claude. Books, including her 1994 autobiography, Madam, also describe her life and attempt to separate fact from fiction. She died in Nice in 2015 at the age of 92, taking many of her secrets of the rich and famous to the grave.
What is not mentioned in the film, but in the published articles is that Madame Claude may have been Jewish. One of her friends, Taki Theodoracopulos, the longtime "High Life" columnist for London's Spectator, asserted to one of Madame Claude's biographers, William Stadiem, that he had seen Madame Claude's concentration camp tattoo on her wrist.
Despite its subject matter, female prostitution, I consider Madame Claude to be a woman's movie if not a feminist film. That's because it's fundamentally about women acquiring power, especially the power over men. It's not only Madame Claude who exercised her power but the Claudettes, too, many of whom, after grooming by Madame Claude, tutoring in the arts and letters by scholars of her acquaintance and cosmetic surgery where required--except the breasts-- ended up marring princes, potentates and captains of industry.
Netflix rates it "steamy" and "cerebral." Right, it probably is both.
The best thing about this film is that it is directed by a woman, Sylvie Verheyde. This is important, although little discussed by the (mostly male) critics and commentators, but I doubt that any male director could have enjoyed the intimacy with the almost entirely female cast: there is only one principal male character, the voyou (gangster) Jo Attia (né Joseph Brahim), played by veteran actor Roschdy Zem, who occupies a minor role, not to mention that most of the film ostensibly takes place in Madame Claude's maisons closes at 18, rue de Marignan, near the Champs-Elysées, and 32, rue de Boulainvilliers, a discrete location in the upscale 16th arrondissement.
A crucial aspect of the film is mostly ignored by the American audience or even by French people who did not live in Paris in the 1960s and 1970s, as I did. A Yugoslav, Stevan Markovic, a Corsican, François Marcantoni, President Georges Pompidou, his wife, Claude, and the actor Alain Delon were all involved in a bombshell scandal that erupted in 1968 and is evoked a background to the film to suggest Madame Claude's connections with la pègre, the French underworld. According to the Wikipedia, the affair began when one of Delon's bodyguards, Markovic, was found dead. Both Delon and his longtime friend Marcantoni were questioned by the police. Marcantoni was originally charged with the murder, but after further questioning by the police, he was released. Markovic's murder is still unsolved.
Most of the sexy scenes are near the beginning of the film. There are a few violent moments, but most of the film revolves around the entrepreneurial Madame Claude's business acumen and the "Claudettes" she recruited for her wealthy and powerful clients. That probably explains why so many of the male reviewers on IMDb stopped watching it before the end. But the end is worth the wait.
French actress Karole Rocher is excellent in the title role and will probably garner a César, the French equivalent of an Oscar, for her starring role as Madame Claude. The young Garance Marillier (born in 1998) deserves praise as Sidonie, the daughter of a perverted diplomat. The enigmatic Sidonie puffs or pretends to puff Virginia Slims most of the time. (I checked: the iconic cigarettes premiered in 1968, contemporary with the setting of the film.) Sidonie becomes Madame Claude's favorite Claudette and confidante.
There are several good articles online, some with cheesecake photos, about Madame Claude. Books, including her 1994 autobiography, Madam, also describe her life and attempt to separate fact from fiction. She died in Nice in 2015 at the age of 92, taking many of her secrets of the rich and famous to the grave.
What is not mentioned in the film, but in the published articles is that Madame Claude may have been Jewish. One of her friends, Taki Theodoracopulos, the longtime "High Life" columnist for London's Spectator, asserted to one of Madame Claude's biographers, William Stadiem, that he had seen Madame Claude's concentration camp tattoo on her wrist.
Despite its subject matter, female prostitution, I consider Madame Claude to be a woman's movie if not a feminist film. That's because it's fundamentally about women acquiring power, especially the power over men. It's not only Madame Claude who exercised her power but the Claudettes, too, many of whom, after grooming by Madame Claude, tutoring in the arts and letters by scholars of her acquaintance and cosmetic surgery where required--except the breasts-- ended up marring princes, potentates and captains of industry.
Netflix rates it "steamy" and "cerebral." Right, it probably is both.
I watched Madame Claude by Sylvie Verheyde on Netflix, which just premiered a couple of days ago. It's the second French biopic about "Madame Claude," née Fernande Grudet, who operated the most illustrious brothel in Paris for fifteen years in the 1960's and 1970's--the first, also titled Madame Claude, by Just Jaekin, dates from 1977 and starred Francoise Fabian. I wasn't sure I would like the new version, since a few of the reviews panned it, but I decided to start watching it to see if I liked it. I watched it all. I saw it VOSTF--speaking French with French subtitles.
The best thing about this film is that it is directed by a woman, Sylvie Verheyde. This is important, although little discussed by the mostly male critics and commentators, but I doubt that any male director could have enjoyed the intimacy with the almost entirely female cast. There is only one principal male character, the voyou--gangster--Jo Attia, played by veteran actor Roschdy Zem, who occupies a minor role. Most of the film ostensibly takes place in Madame Claude's maisons closes at 18, rue de Marignan, near the Champs-Elysées, and 32, rue de Boulainvilliers, a discrete location in the 16th.
A crucial aspect of the film is mostly ignored by the American audience or even by French people who did not live in Paris in the 1960's and 1970's, as I did. A Yugoslav, Stevan Markovic, whose name is mispronounced by some of the characters, a Corsican, François Marcantoni, President George Pompidou, his wife, Claude, and the actor Alain Delon were all involved in a bombshell scandal that erupted in 1968 and is evoked a background to the film to suggest Madame Claude's connections with la pègre, the French underworld. According to the Wikipedia, the affair began when one of Delon's bodyguards, Markovic, was found dead. Both Delon and his longtime friend Marcantoni were questioned by the police. Marcantoni was originally charged with the murder, but after further questioning by the police, he was released. Markovic's murder is still unsolved.
Most of the sexy scenes are near the beginning of the film. There are a few violent moments, but most of the film revolves around the entrepreneurial Madame Claude's business and the "Claudettes" she recruited for her wealthy and powerful clients. The end is worth the wait.
There are several good articles online, some with cheesecake photos, about Madame Claude. Several books, including her 1994 autobiography, Madam, describe her life. She died in Nice in 2015 at the age of 92, keeping many of her secrets to her grave.
French actress Karole Rocher is excellent in the title role and will probably garner a Cesar, the French equivalent of an Oscar, for her starring role as Madame Claude.
The young Garance Marillier, born in 1998, is excellent as Sidonie, the daughter of a diplomat. The enigmatic Sidonie puffs or pretends to puff a Virginia Slims most of the time. (I checked: the iconic cigarettes premiered in 1968, the time of the film.) Sidonie becomes Madame Claude's favorite Claudette and her confidante.
Because of some confusion in the script, I'd rate the film a B overall. It's worth watching, but not destined to become a classic. Netflix rates it "steamy" and "cerebral." Right, it probably is both.
The best thing about this film is that it is directed by a woman, Sylvie Verheyde. This is important, although little discussed by the mostly male critics and commentators, but I doubt that any male director could have enjoyed the intimacy with the almost entirely female cast. There is only one principal male character, the voyou--gangster--Jo Attia, played by veteran actor Roschdy Zem, who occupies a minor role. Most of the film ostensibly takes place in Madame Claude's maisons closes at 18, rue de Marignan, near the Champs-Elysées, and 32, rue de Boulainvilliers, a discrete location in the 16th.
A crucial aspect of the film is mostly ignored by the American audience or even by French people who did not live in Paris in the 1960's and 1970's, as I did. A Yugoslav, Stevan Markovic, whose name is mispronounced by some of the characters, a Corsican, François Marcantoni, President George Pompidou, his wife, Claude, and the actor Alain Delon were all involved in a bombshell scandal that erupted in 1968 and is evoked a background to the film to suggest Madame Claude's connections with la pègre, the French underworld. According to the Wikipedia, the affair began when one of Delon's bodyguards, Markovic, was found dead. Both Delon and his longtime friend Marcantoni were questioned by the police. Marcantoni was originally charged with the murder, but after further questioning by the police, he was released. Markovic's murder is still unsolved.
Most of the sexy scenes are near the beginning of the film. There are a few violent moments, but most of the film revolves around the entrepreneurial Madame Claude's business and the "Claudettes" she recruited for her wealthy and powerful clients. The end is worth the wait.
There are several good articles online, some with cheesecake photos, about Madame Claude. Several books, including her 1994 autobiography, Madam, describe her life. She died in Nice in 2015 at the age of 92, keeping many of her secrets to her grave.
French actress Karole Rocher is excellent in the title role and will probably garner a Cesar, the French equivalent of an Oscar, for her starring role as Madame Claude.
The young Garance Marillier, born in 1998, is excellent as Sidonie, the daughter of a diplomat. The enigmatic Sidonie puffs or pretends to puff a Virginia Slims most of the time. (I checked: the iconic cigarettes premiered in 1968, the time of the film.) Sidonie becomes Madame Claude's favorite Claudette and her confidante.
Because of some confusion in the script, I'd rate the film a B overall. It's worth watching, but not destined to become a classic. Netflix rates it "steamy" and "cerebral." Right, it probably is both.
The photographer, Delmas, steals the keys to Judith Nelson's apartment from her handbag after she has attempted suicide and uses those keys to break in to her apartment with Moreau. But how is she going to get back into her apartment after she leaves the hospital?
Aside from that, you can see that this film is a Frenchman's view of New York: Melville recreates New York through French eyes. The story itself is fundamentally French, with references to World War II and the French Resistance that have nothing to do with the plot itself.
Still, Melville is an interesting cinéaste who was obsessed with America. Born Jean-Pierre Grumbach, he adopted the nom de guerre "Melville" when he served in the French Resistance because of his fondness for Herman Melville and retained it afterwards.
Pike Slip was a lower Manhattan docking space. The Pike Slip Inn existed at least in 2015. The gifted French jazz pianist and composer Martial Solal plays the piano at the Pike Slip Inn in the film.
Aside from that, you can see that this film is a Frenchman's view of New York: Melville recreates New York through French eyes. The story itself is fundamentally French, with references to World War II and the French Resistance that have nothing to do with the plot itself.
Still, Melville is an interesting cinéaste who was obsessed with America. Born Jean-Pierre Grumbach, he adopted the nom de guerre "Melville" when he served in the French Resistance because of his fondness for Herman Melville and retained it afterwards.
Pike Slip was a lower Manhattan docking space. The Pike Slip Inn existed at least in 2015. The gifted French jazz pianist and composer Martial Solal plays the piano at the Pike Slip Inn in the film.