duminică, 31 mai 2009

Top 5 Movies set in Paris ( Top 5 al filmelor realizate in Paris )

1. "Children of Paradise" (1945) - " Les enfants du paradis "

Over 600 French critics in 1995 voted this as the best French film of the century.
The beautiful Garance (Arletty) is pursued by four men: the cold-hearted thief Lacenaire (Marcel Herrand), the sniffing aristocrat Count de Montray (Louis Salou), Frédérick, the actor full of joi de vivre (Pierre Brasseur), and the lovestruck mime Baptiste (Jean-Louis Barrault). Filmed during the Nazi occupation, and set on the Boulevard of Crime in theatrical Paris of 1828, director Marcel Carné moves effortlessly between scenes while the dialogue by poet Jacques Prévert is sharp and deep. As for whom Garance loves... She travels to India, England and Scotland, but says upon return, “I love only Paris.”

[ Peste 600 critici de film francezi au votat in anul 1995 acest film ca fiind filmul secolului.
Frumoasa Garance ( Arletty ) este curtata de 4 barbati : hotul cu inima impietrita Lacenaire ( (Marcel Herrand), aristocratul cu nasul pe sus Conte de Montray (Louis Salou), Frédérick, actorul plin de viata (Pierre Brasseur), si indragostitul mim Baptiste (Jean-Louis Barrault).
Filmat in timpul ocupatiei naziste, pe Bulevardul Crimei in Parisul 1928, directorul Marcel Carné se plimba fara efort intre scene in timp ce dialogul creat de poetul Jacques Prévert este ironic si profund.
Cat despre cel pe care Garance iubeste... Ea calatoreste in India, Anglia si Scotia, dar spune la intoarcere, " Eu iubesc doar Parisul. " ]


2. "An American in Paris" (1951)


The film begins with great Parisian location shots — Arc de Triomphe, Place de la Concorde — while artist Jerry Mulligan (Gene Kelly) informs us he’s an ex-G.I. who stuck around after World War II because “Brother, if you can’t paint in Paris you’d better give up and marry the boss’ daughter.” You’ve got a Gershwin score, Gene Kelly and Leslie Caron dancing, Gene Kelly and Georges Guétary singing, and Oscar Levant mugging it up.

[ Filmul incepe cu niste locatii de filmare minunate - Arcul de Triumf, Place de la Concorde - in timp ce artistul Jerry Mulligan (Gene Kelly) ne anunta ca este un fost soldat ramas in zona dupa Cel de-al Doilea Razboi Mondial pentru ca " Frate, daca nu poti picta in Paris atunci mai bine renunti si te casatoresti cu fata sefului. "
Ai o partitura de Gershwin, Gene Kelly si Leslie Caron dansand, Gene Kelly si Georges Guétary cantand si Oscar Levant facand pe mascariciul. ]

3. " The 400 Blows" (1959) - Les Quatre Cents Coups

François Truffaut’s autobiographical masterpiece begins with distant, street-level shots of the Eiffel Tower, obscured, sometimes completely, by the buildings in the foreground, as if to suggest that this is not your idealized, romanticized Paris.
Antoine Doinel (Jean-Pierre Léaud) is trapped, but not so much by his cramped, working-class neighborhood, nor by school, where he does poorly, nor by his own bad luck of getting away with stealing a typewriter but getting busted trying to return it. He’s trapped because no adult offers an escape out of childhood. His mother, who never wanted her son, cheats on her husband, who is not Doinel’s father. His teachers are martinets. Even the crooks try to rip him off. Thus his numerous escape attempts, including hooky and running away from home and — of course — going to the movies. At the end he escapes and runs to the sea, where, in the film’s iconic final freeze frame, he seems to realize he has nowhere else to run.

[ Capodopera autobiografica a lui François Truffaut incepe cu o scena distanta de la nivelul strazii a Turnului Eiffel, ascuns, cateodata in totalitate de catre cladirile din jur, dorind sa sugereze prin asta faptul ca acesta nu este Parisul idealizat, romantizat dorit.
Antoine Doinel (Jean-Pierre Léaud) este prins, nu atat cat inghesuit in cartierul muncitoresc in care locuieste, nici de scoala, unde se descurca slab, nici de ghinionul lui de scapa cu o masina de scris si de a fi prins atunci cand incearca sa o returneze. El este prins din cauza faptului ca nici un adult nu ii ofera posibilitatea de a scapa de propria copilarie. Mama lui care nu si-a dorit niciodata fiul, isi inseala sotul, care nu e tatal lui Doinel. Invatatorii lui sunt niste foarte severi. Chiar si hotii vor sa il jefuiasca. De aici si numeroasele lui incercari de evadare, chiulul si fugitul de acasa si bineinteles mersul la filme. In final el scapa si pleaca pe mare, unde in scena iconica de sfarsit a filmului, el pare ca realizeaza faptul ca nu mai are unde sa fuga. ]

4. "Amélie" (2001)

It makes sense that our heroine lives in Montmartre in the 18th arrondissement of Paris. It’s the high point of the city; the place from which you can look down and see everything else, and this is how, for most of the film, Amélie lives her life: from a distance, separate. Indeed, for all its bright colors and whirlwind tour of Paris, including beautiful shots of the Cathedral of Notre Dame and the Basilica of the Sacré Coeur, there’s a sadness at the heart of “Amélie.” Lfe is sad: husbands leave, grocers are mean, bones break. Life’s joy, the film suggests, is in the small things because we can’t do the big things right.

[ Este perfect logic ca eroina din acest film sa locuiasca in Montmartre in arrondismentul 18 in Paris. Este punctul cel mai inalt din oras, loc de unde te poti uita in jos sa vezi totul si asa este precum traieste si Amelie: de la dinstanta, retrasa. Culorii vii, turul volburat al Parisului, secvente frumoase cu Catedrala Notre Dame si Bazilica Sacré Coeur si tristetea din sufletul Améliei. Viata este trista: sotii pleaca, bacanii sunt rai, oasele se rup. Bucuriile vietii sugereaza filmul stau in lucrurile marunte pentru ca lucrurile mari nu le putem face bine. ]


5. "The Bourne Identity" (2002)

We don’t get to Paris until 36 minutes in, we leave after another 45 minutes (with a thrilling return engagement at the end), and the film isn’t about Paris — it’s about the CIA’s attempt to clean up its international messes — but the filmmakers made the most of their location shooting. They’re all over this city. This thriller is its own kind of love letter to Paris.

[ Nu se ajunge in Paris decat dupa 36 minute de film, apoi dupa 45 de minute Parisul paraseste scena ( pentru a se intoarce pentru un sfarsit emotionant ), si filmul nu este despre Paris ci despre incercarea CIA de a curata incurcaturile internationale - dar regizorii au exploatat la maxim locatia lor de filmare. Au filmat peste tot in oras. Acest thriller este intr-un fel propria scrisoare de dragoste pentru Paris. ]

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