Aggiungi una trama nella tua linguaIn Belle Époque Paris, a 19th century Parisian aristocrat (Jeremy Irons) falls in love with a lower-class prostitute (Ornella Muti) who seduces him but never loves him.In Belle Époque Paris, a 19th century Parisian aristocrat (Jeremy Irons) falls in love with a lower-class prostitute (Ornella Muti) who seduces him but never loves him.In Belle Époque Paris, a 19th century Parisian aristocrat (Jeremy Irons) falls in love with a lower-class prostitute (Ornella Muti) who seduces him but never loves him.
- Nominato ai 2 BAFTA Award
- 2 vittorie e 2 candidature totali
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- QuizOrnella Muti and Jeremy Irons were dubbed into the French language.
- Citazioni
Charles Swann: Why do I subject myself to such humiliation? I used to think Odette was ugly! I had to fall in love with her because she reminded me of a Botticelli. Now I've decided to fall out of love with her and I can't. I can't. I can't. I can't! Tonight - tonight, I finally understand that her love for me - which I rejected at first - that the feelings she had for me will never be revived. But without her I will cease to exist. It's an illness that could prove fatal. And yet I'm afraid of being cured.
- ConnessioniFeatured in Gap-Toothed Women (1987)
- Colonne sonoreUne Nuit de Cléopâtre
Composed by Victor Massé in 1885
The opera attended by Odette de Crecy and the Verdurins
I think that a masterstroke in this film is the music. While it may seem inconsequential, it draws the film into a more complex direction than typical period music would have done. I believe that this allows the film to reinvent the quality of emotional space in the material.
Contemporary composers of modern chamber music like Hans Werner Henze (who'd collaborated with Schlondorff before) were brought into the making of the film. The music succeeds by injecting an atonal, dissonant, aching, atmosphere into the story. The piano and violin pieces work well against typical form and aid the narrative in a superbly contemplative manner. I was reminded somewhat of "L'Année dernière à Marienbad", simply because the musical "cues" were not spelled out in simple terms.
Avoiding kitsch is part of the problem when adapting an author who discusses subjects (in epic detail) which have been filmed a thousand times before - in my opinion, the music permits yet another interpretation of that subject. At first its quietly unusual, becoming a defined, twisting voice, accenting the growing dissonance Swann experiences with Odette and ultimately with society.
It is a beautiful film. My only concerns were the occasionally odd voice-over work, which was a little distracting. Ornella Muti is a knockout, but her beauty seems oddly contemporary - its as if the filmmakers were trying to make the statement that voluptuousness is eternal, while beauty standards shift periodically and culturally. Irons is excellent as Swann. I would highly recommend the film.
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