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Irma Vep [Import USA Zone 1]
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Détails sur le produit
Rushes de la séquence finale (4')
Interviews de Maggie Cheung et Nathalie Richard (18')
Interview d'Olivier Assayas et Charles Tesson (34')
Bandes-annonces de la collection Assayas (12')
Descriptions du produit
Description du produit
Irma Vep, 1 DVD, 95 minutes
Lactrice Maggie Cheung arrive à Paris pour tourner dans un remake du Vampire de Louis Feuillade, dirigé par René Vidal qui na dyeux que pour elle. La collaboration savère périlleuse, Vidal et son équipe ne parlant quun anglais approximatif, tandis que la star asiatique ne comprend pas le français À linstar de Truffaut dans La Nuit américaine, cest à lhistoire dun tournage de film mouvementé que nous convie Olivier Assayas, y entraînant Jean-Pierre Léaud, licône de la Nouvelle Vague, en réalisateur vieillissant, et sa compagne autour de laquelle le film tout entier gravite, la magnifique Maggie Cheung dans son propre rôle, sanglée de latex noir, très loin de son interprétation de femme discrète dans In the Mood For Love. Au final, Irma Vep (lanagramme de Vampire) est un voyage étrange en compagnie de personnages singuliers et attachants, un film à ne pas manquer. --David Rault --Ce texte fait référence à l'édition DVD.Voir l'ensemble des Descriptions du produit
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Maintenant pour parler du DVD, ancien, disons que l'image est belle et soignée, la compression étant discrète, et la sonorité agréable; coté bonus c'est un peu léger mais bon... c'est le film qui compte, non?
Alors moi j'apprécie beaucoup ce film, aussi je ne peux que vous le conseiller naturellement, d'autant plus si vos goûts vont en ce sens; et si maintenant vous êtes déjà amateur de Monsieur Assayas, eh bien alors là foncez plein schuss, c'est du billard!
(..et que cela ne vous empêche en aucune façon (ça serait désastreux) de redécouvrir le chef d'oeuvre absolu de Louis Feuillade, 'Les Vampires', véritable serial *HORS NORME* avec l'inoubliable et extraordinaire Musidora, et dans une édition Gaumont en tous points exceptionnelle..)
Commentaires client les plus utiles sur Amazon.com (beta)
If you don't know, Irma Vep is a movie about a Hong Kong action star (Maggie cheung) who arrives in Paris to do a remake of a 1915 French film about the French underworld. The director is losing his emotional stability and eventually the crew unravels. A lot has been said about the "film within the film" aspect of the movie, so I won't say more. What I think is fascinating is how the director tells a number of stories within this strange plot:
- The crash and burn of a film crew
- Zoe, the costume designer who is attracted to Maggie and she is rejected
- Maggie's desire to indulge in her criminal fantasies
- the director's strangely engaging mini-film
Since all this takes place in the middle of chaos, it can be hard to appreciate at first. There is really no beginning or end of the film. It is abrupt, which I think must reflect the experience of someone who arrives in the middle of turmoil. But each mini-plot is lovingly filmed and well acted. It also helps a great deal that Maggie Cheung is an attractive actress who can really carry well while wearing a latex suit the director insists she wear. The rest of the cast puts in a great performance as well, which allows you to engage with the other characters. On top of that, the film has lots of great shots - the weird footage at the end, Maggie sneaking through the hotel, the obligatory French dinner party, an incisive slam on the French film indusrty, etc..
Definitely worth it for people who can tolerate unusual plot structures and who enjoy beauty in unusual places. Check it out.
Until that movie is made, Irma Vep will have to do. Please note that elements of the plot are discussed but there are absolutely no spoilers here or in the movie. Irma Vep is a movie about making a movie and it's stuffed with angst, pettiness, tantrums, ego and confusion. Taken on one of its own terms -- is it any good just as a movie -- the answer in my opinion is a loud "yes." Forget all the inside cineaste stuff (it is French, after all) and you may find that Irma Vep is funny, not just clever. It's good-natured with a friendly performance by Hong Kong kung fu heroine Maggie Cheung playing herself. Most of all, it is so eccentric a movie I seldom could stop smiling.
Rene Vidal (Jean-Pierre Leaud), an aging New Wave director now well past his sell-by date, is planning a comeback. He'll re-make a long, long and long ago silent movie called Les Vampires, a movie about a gang of criminals who prowl and stalk. One of them, in a skin-tight black body suit and black mask, is named Irma Vep. She will be Vidal's inspiration. He has just the star in mind to play Irma...Maggie Cheung. Maggie, who doesn't speak French, shows up in Paris ready to work. Cast and crew snipe and argue in many mini-dramas. Vidal collapses. Cast and crew snipe and argue some more. Maggie, an outsider and quite taken by the black latex outfit she and the costume designer, Zoe (Nathalie Richard) picked up cheap at a Parisian sex shop, whiles away the time one night by creeping about her hotel wearing the suit. Like Irma Vep, Maggie sees things in the hallways and rooms, some worth taking, and then there is the nighttime rain and the high, outside fire escape leading up to the hotel's roof. All does not go well for the movie. Eventually Maggie leaves for New York to take a meeting with Ridley Scott.
Not much there, I know, except for director and writer Olivier Assayas' amusing style and Maggie Cheung's bemusement and lithe creeping. There is much pleasure in Assayas' take on movie making and movie people, but the pleasure for me comes from noticing how I came to rather enjoy and like all those behind-the-scenes groupies, workers and jerks. The dish, of course, is amusing. "Directors thrive on hypocrisy," says one. "Yeah," says another, "but sometimes they go overboard." The interview between Maggie and a young, intense film enthusiast is priceless...John Woo versus Jean-Luc Godard. The film enthusiast has strong opinions about both. Maggie doesn't.
Maggie Cheung gives a sweet center to this movie, but I liked just as much Nathalie Richard as Zoe, the lean, blonde, tentative, cigarette-smoking, girl-liking costume designer. She's past her prime if you're a teenage boy, but right at her peak if you're an adult of either sex.
Film lovers might enjoy one message. "Cinema is not magic. It's a technique and a science. A technique born of science and at the service of a will, the will of the workers to free themselves." Got that? Essayas manages to combine the idea of movies (popular entertainment) and film (a much more deadly serious concept of the movies) in a way that is eccentric and engaging. Film insiders and hopeful film insiders just might love this movie. Yet as funny and eccentric as Eerma Wep is, it's still just a movie by a talented director about making a movie. If you like movies and are relaxed about "film," I think you'll enjoy it.
This DVD issue by Zeitgeist has a very good picture.
*What is fetishized in film noir is crime itself. Because that is where the characters (and the audience members) experience their moment of rebellion, of freedom.
*Of course the crime can take many forms: a hiest, adultery, a murder, looking at a painting, reading or writing a book, watching or making or acting in a film, or simply being onself (off camera).
*Whats really wonderful about a fim like Beineix's Diva is that the crime is something as minor as illegally recording an opera and then stealing the diva's dress. In Diva, art (and art appreciation) is viewed as transgressive and exciting.
*And whats wonderful about a film like Lynch's Blue Velvet is that the originary crime is simply boredom which begets curiosity which begets investigation which begets spying which begets awareness of every other form of transgressive behavior which begets knowledge.
*In life most of us are forced to hide out from ourselves. We hide out from ourselves in jobs that we don't like, we hide out from ourselves in relationships that require us to act more socially presentable and acceptable than we feel like acting, we hide out from ourselves in suburbs, in family life, we hide out from ourselves in all kinds of ways. These jobs we take and the roles we play might be the very things that allow us to be ourselves, or at least certain versions of ourselves, but cinema is a place where we can acknowledge those other less social truths and less social selves that we must conceal in our everyday lives.
*Sometimes everything about life feels fraudulent and we can't wait to get to the cinema to get a dose of truth. At other times its just the opposite.
*Like Feuillade and Lang and Godard (and many other filmmakers), Assayas views the modern world as a series of enclosures and he locates the source of our discontent in the tedious professions that require us to occupy single enclosures and play single roles for extended periods of time. Godard's Breathless is wonderful because its about someone who is tired of playing a gangster but who simply lacks the imagination or will to perform any other role even though he seems like a natural actor. Irma Vep is wonderful because its about an actress who only comes alive (as herself) when she is not being viewed by anyone and can perform only for herself on the rooftops of Paris. In this film, the greatest thrill/crime is simply giving oneself the permission and freedom to be oneself.
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