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You wouldn't think a movie that's mostly two old guys talking could be athriller, but that's exactly what Man on the Train is. Frenchsinger Johnny Hallyday plays a professional criminal who comes to a smalltown to take part in a robbery. By chance, he meets talkative JeanRochefort (The Hairdresser's Husband), who invites the laconicHallyday to stay at his house because the hotel is closed. The two form anunlikely friendship, each curious about (and envious of) the other's life.But all the while plans for the robbery continue, while Rochefort ispreparing for a dangerous event of his own. The pitch-perfect performancesmake Man on the Train completely involving. Rochefort and Hallydayplay off of each other beautifully; it's impossible to put your finger onwhat makes these subtle, supple scenes so magnetic. Directed with spareauthority by Patrice Leconte (Ridicule). --Bret Fetzer ... Read more

Reviews (24)

Another wonderful French film
Two men of entirely different makes, have a chance meeting in a small French town drugstore. One, a quiet midlife bank robber and the movie's namesake, has arrived by train in order to case the town's bank and prepare a team to rob it. The other, a much older chatterbox, is a retired French teacher, and still tutors children, as well as read poetry and play the piano. The bank robber yearns for a more peaceful and quiet life, whereas the teacher longs for excitement, fearing that his life is close to finishing. The bank robber, by means of unforeseen circumstances, is forced to stay at the teacher's home for the week while he prepares his work. The unlikely pair begin a tender friendship that starts to move both men toward the things they are really looking for in life. By the end of the week, both men have been affected in ways that will change their life for good.

This movie is a character piece. No sex, minimal violence. It moves in a slow but very steady pace. The director recognizes that this is a movie based on dialogue, and the things going on in the two protagonists' heads. It's very enjoyable and yet just another wonderful film coming out of France.

Understated, Curious Character Study.
A stranger arrives in a sleepy French town with plans to rob its bank. The man is Milan (Johnny Hallyday), an aging and world-weary career criminal. When he discovers that the town's hotel is closed, an elderly gentleman invites Milan to stay in his home. The elderly man is Monsieur Manesquier (Jean Rochefort), a retired literature teacher whose life has always been routine, and now the routine is spent mostly alone in his family's lovely but somewhat dilapidated mansion. As these two men spend time observing each other, each man is drawn by curiosity to the other man's lifestyle. They both begin to see long-dormant aspects of their own characters in the other man. As their growing friendship induces in each man a new way of seeing himself, the two men develop a taciturn but deep bond.

"The Man on the Train" is a stereotypical French film in that nothing actually happens overtly. The action is all internal, in the hearts and minds of Milan and M. Manesquier. It is less typical of a French film in that not much is said either. Milan is a laconic character, and M. Manesquier likes to talk but seems to lack anyone to talk to. This is a quiet film that actually seems to distrust language. The story of these two unlikely companions discovering each other in themselves is told through two sensitive, outstanding performances by Jean Rochefort and Johnny Hallyday and through the cinematography of Jean-Marie Dreujou. I could have done with less filtration on some of the outdoor scenes, but Dreujou's cinematography really shines inside M. Manesquier's mansion. The camera work gives the audience the distinct impression of a closed, isolated space in which we are concealed observers of the unusual relationship that is developing between the two men. Fans of character studies will appreciate this little gem of a film. If that's you, "The Man on the Train" is highly recommended. French with English subtitles. There are no bonus features on the DVD, and the subtitles cannot be turned off.

slow and boring
Slow and boring. The first hour and fifteen minutes are nothing but a dawdling and pointless dialogue between two very different strangers who become somewhat of friends. If you are still awake for the last 15 minutes, there is a very brief moment of action. The music is intentionally reminiscent of an American Western but since the film is set in a modern French town, it's a combination that didn't appeal to me in the least. The picture quality is great, however the English subtitles are fixed, and can't be removed. Furthermore the translations aren't completely accurate, and they are often poorly timed.

Great film pity about the fixed English subtitles
The irremovable English subtitles get in the way especially if you are trying to learn a language. Normally subtitles are optional, these are not.

Cute Flick
I loved the characters in this film. The old retired teacher in a small French town, invites a raggedy drifter who is in town (to rob a bank), to stay in his mansion since the local hotel is closed for the season. As the film progresses, each begin to admire the others' way of life. The old teacher, who is a very loveable person, is in love with American western movies, and tries to start fights, but just can't, since he is so well known and respected. The drifter is the silent type who gets a chance to try on slippers for the very first time while with the teacher.
This film really drew me into the protagonists' lives, and though I'm not really sure if there is a definite moral to it, it kept me thinking of my own life, and the choices that I've made, and why I chose what I did. This is a great film if you're looking for something to inspire you into gaining some hindsight.
The acting is terrific, the script is lovely, this is a must-see for all drama aficionados. ... Read more

Reviews (4)

Dramatic Invective
Patrice Leconte's film on the pageantries and sophistries of King Louis XVI's Court, a place where there are many words flying about yet little substance in governance. The protagonist is Ponceludon de Malavoy (Charles Berling), a low-ranked nobleman who seeks a royal grant to drain the swamps plaguing his region. He is, unfortunately, a new-comer to the King's court and needs to be properly introduced to the King. He receives help from the Marquis de Bellegarde (Jean Rochefor) and his loving daughter (Judith Godrèche.) Malavoy also comes under the machinations of Madame de Blayac (Fanny Ardant) to befriend the King. As he navigates through the King's court, Malavoy is subjected to the invectives of sycophantic nobles who seek to exploit the King for their own petty needs. With little wealth and a low title, Malavoy soon realizes that the only weapon he has is his wit (esprit.) As he come closer to appealing to the King, he maneuvers his wit and invective as a musketeer wields his rapier. The script is excellent and the story is filled with the art of invective and wit. A perfect example of some of the witty encounters in the film is when the King asks Malavoy why he has made jokes of only the aristocracy but not of him? With a reserved smile Malavoy replies, "The King is not a subject your Majesty!"

Literate and Wicked
Ridicule is a French film which takes place in 1783, a few years before Louis XVI lost the ability to wear a hat; where "...in this country, vices are without consequence, but ridicule can kill." The film is about the effect of wit and word play on people's lives and careers. Malicious, mannered and highly enjoyable. Charles Berling, Jean Rochefort, Bernard Giraudeau and Fanny Ardant are excellent. A man would be a fool not to want to bed Ardant, and even more a fool to trust her.

The film is sumptuously mounted and the DVD transfer does it justice. The dialogue is so clever a knowledge of French might be in order, but the English subtitles do a superb job of conveying the witty, cruel, self-serving word play.

About the DVD...
The DVD is pretty bare bones. You get a nice widescreen transfer (the full-screen VHS was pan and scan, so you do see more image with the widescreen) and surround sound. The English subtitles are not "burned in" to the image...you must activate them with the captions option on your DVD player.

The only "extra" is a commercial ballyhooing Miramax's achievements in recent years.

Off With Their Heads!
It's the waning days of the old regime in France. A conscientious but impoverished nobleman from the south travels to Versailles to petition the royal government for funds to drain his swamps so that his tenants can be spared periodic outbreaks of disease. Instead of finding the sympathetic ears he expected, he finds a government nearing bankruptcy, a well-intentioned but befuddled king who is surrounded by a bureaucracy trying to temper the king's naive generosity and stave off the final collapse, and an aristocracy that has descended into a depraved comedy of manners. All substantive thought at court has been replaced by endless games of witticisms, whereby a person's social standing and political access are functions of mastering the art of the putdown . . . preferrably in as ascerbic a manner as possible.

To everyone's surprise -- including his own -- our hero turns out to be quite good at the art of malicious wit. First trying to use his new-found talent to speed up his campaign to drain his swamps, he soon succumbs to the appeal of the game for the game's sake. A series of events eventually snaps him back to reality, and therein lies the plot of the piece.

This is a supremely engaging costume piece. The cast is superb, the settings and costumes dead-on accurate, the dialog entertaining and sophisticated. In the end, it's really a gorgeously-filmed morality play about the triumph of conscience over wealth, power, and hollow social graces. The only real fault with the movie from a historical perspective is that it portrays Louis XVI as the affable nitwit of popular legend instead of the serious monarch overwhelmed by ultimately uncontrollable events that he really was.

This movie is so good at drawing you in that you soon cease to notice you're reading subtitles (at least if you don't speak fluent French). Although the plot hinges on the most delicate subtleties of 18th-century court French, the story telegraphs through with searing clarity. And it's a story for all times, all places, and all tongues. ... Read more

Description

Some of the world's leading directors (David Lynch, Spike Lee, Wim Wenders, Zhang Yimou, John Boorman) use the original Lumiere picture camera to create short films all over the world.Interactive Menus, Production Notes, Scene access, Trailer, Languages: French, Subtitles: English ... Read more

Reviews (9)

A Filmmakers Dream Project
In 1885, the Lumiere Brothers perfected a hand-cranked movie camera that moved the world. This 100th year anniversary takes forty filmmakers to task with the same camera to produce a film less than a minute. It's not as interesting in its results as one might have hoped. It was a huge challenge and few really completed something of interest. Of those, David Lynch, Patrice Leconte and Alaine Corneau are the most intriguing, while well known directors like Spike Lee and Liv Ullmann are less so. However, this is subjective. Many of the directors are asked simple questions with the hopes of profound answers. "Why do you film" and "Is cinema immortal" get answers as mundane as 'climbing a mountain because it is there'. Film students will, however, be fascinated with this project and historians will marvel that an invention so old can still be of artistic use. For the average viewer, this 88 minute documentary might seem boring, but at the very least, it is historic.

Cinemaphiles will love this film
As a tribute to the spirit of motion pictures, Lumiere & Company is a tremendous achievement and a sublime experience for true cineastes who are fortunate to find a copy on DVD. Produced in celebration of the centennial of what is considered to be the first motion picture camera, invented by the Lumiere Brothers of France, the approach is similar to asking the most accomplished electric guitar player to go acoustic.

The producers asked a collection of international film directors to create a 52-second piece each using the same technology as the Lumieres did more than one hundred years ago, 52 seconds being the amount of time it takes for one spool of film to run through their camera. Therefore, each of the segments is done in one take. All the directors are well respected, but among the more well-known participants are David Lynch, Wim Wenders, John Boorman, Spike Lee, James Ivory, Zhang Yimou and Liv Ullman.

Each segment is intriguing. While the results are understandably uneven, the pleasure of watching this film is in discovering the remarkable diversity in the working minds of motion picture's prominent practitioners. The DVD allows for free roaming and alternative selection of each short film. Given the nearly limitless possibilities available in the modern film industry, it's worth noting how the directors make use of their limited time and yet still reveal their own styles.

The subject matter ranges from miniature narratives to political statements and social documents. The locations are as varied as the directors themselves, from Bedford-Stuyvesant to Hiroshima. Although this film may seem a bit obscure and tedious to the non-enthusiast, historians and die-hard cinema fans will marvel not only at how limitations forcibly create ingenious ideas to spring forth, but also at how well the Lumiere camera still functions.

The DVD release also offers production notes, a trailer, French language, and English subtitles.

GOOD GOOD VERY GOOD
THIS IS GREAT WORK,GOOD GOOD GOOD VERY GOOD,YOU MUST TO SEE

A gem.
Lumiere and Company (Sarah Moon, 1995)

No, Lumiere and Company is not some sort of obscure sequel to Disney's Beauty and the Beast. (And where I got that idea, which I had for years, is completely beyond me.) Instead, it's Sarah Moon's third film, and a kind of global version of her second, Contriere l'oubli. Moon took the original camera manufactured by the Lumiere brothers, set some ground rules, and asked forty world-famous directors to shoot a fifty-two second scene with it. She then made a documentary incorporating behind-the-scenes footage with the short pieces themselves.

The result is a wonderful look into the mind of the filmmaker as he goes about the filmmaker's art. Each of the filmmakers does something completely different, and each answers the five questions put to him by Moon so disparately that the overall effect is one of a sort of comprehensive feeling about how films get made; one that no one director would subscribe to, but all embrace.

The short films themselves are directed by such luminaries as Costa-Gavras, Spike Lee, David Lynch, Liv Ullmann, Lasse Hallstrom, and many others who are easily recognizable; the trick was to get Moon, the relative neophyte, to create a wrapper that is the equal of the movies therein. And she did so, admirably. The is a fine little gem of a film, and well worth seeing. **** ½

Less Is More
What an intriguing idea. Take several well known directors used to working with today's state of the art equipment and see what they can do with the first practical motion picture camera. And to make it more of a challenge, give them less than a minute to work with. The results are naturally uneven. How could they not be? I won't name names but even the weakest entries have something to offer while the best lend credence to the old adage "less is more". The viewer will ultimately have to decide for him or herself which is which. As a longtime admirer of silent films I found the voiceovers during the segments rather distracting in the manner of Mystery Science Theatre 3000. One of the rules should have called for no comments made during filming to be allowed on the soundtrack. Let us supply our own voices to what we see. All in all an interesting concept that is well executed and worth seeing for any serious student of film. The DVD format is ideal for this type of omnibus film as you can easily select the segments that you want to see again and again. You should also check out the LUMIERE BROTHERS FIRST FILMS on DVD to see what was originally done with this remarkable piece of equipment. ... Read more

Reviews (14)

Tragic, multilayered, and sweepingly romantic.
"The Widow of Saint-Pierre" is one of those brooding, romantic costume dramas that only the French seem to do well these days. Far from being escapist fare, it is a dark, often profound meditation on the human condition and the vagaries of the human heart. In 1849, on the remote French island of Saint-Pierre off the coast of Newfoundland, an illiterate fisherman commits a drunken, senseless murder and is sentenced to the guillotine. But since the island has no guillotine, the governor must send for one--a process that will take years. Meanwhile, the fisherman is imprisoned in the island fortress; the wife of the garrison commander takes pity on the condemned man, and sets out to rehabilitate him, with the help (at first reluctant, later wholehearted) of her loving husband. Soon the captain and his wife are defying the governor in their attempts to help the condemned man--with tragic consequences. "The Widow of Saint-Pierre" works on several levels: as a romantic drama; as a denunciation of capital punishment and the cruelty of confusing the letter of the law with justice; and as a brilliant delineation of the nature of love, courage and self-sacrifice. Eduardo Serra's photography of the wintry landscape of Saint-Pierre (actually Nova Scotia) is marvelous, and the acting deserves the highest praise. By now, of course, everyone knows how exquisite Juliette Binoche is, and she is as good as ever here. But the thespian honors in this movie go to Daniel Auteuil, an actor of masterful subtlety and power, who makes Gerard Depardieu look like a double order of "jambon a' l'os."

A romantic drama with a progressive social conscience
Juliet Binoche demonstrates a steely grace in this French film set in the 1840s Newfoundland. A man commits murder during a night of drunken hyjinks. He's sentenced to the guillotine except for one the remote town of St. Pierre doesn't have the necessary executive device (nicknamed the "Widow"). The town officials send away for one from France (that must be some mail-order catalog they consulted), but in the meantime the convicted man is held in custody by a captain (enigmatically played by Daniel Auteuil) and his wife (Binoche).

*** Binoche's character is progressively-minded, and instead of keeping the convict locked up, she puts him to work helping her with her garden and then with chores around St. Pierre. The townsfolk take a shine to the convict and begin to protest his pending execution.

*** This is an odd little period film with an anti-capital punishment stance. While not entirely surprising, the premise is remains a novelty to behold. You're never quite sure what made the characters who they are, but Binoche and Auteuil are a curiously striking couple and succeed in bringing plausibility to their roles.

Quality film with poignant story and excellent acting.
Set in 1849 on the Island of Saint Pierre off the coast of Canada, this 2001 French film is a sad and human drama about love, sin and redemption. The film starts with a senseless murder and a death sentence for the culprit, played by Emir Kustuica. However, the execution must be carried out by guillotine, which is referred to as "the widow" and there is no such instrument of death in the town. It has to be sent by ship from a French Island in the Caribbean. And this could take as long as a year.

The prisoner is under the control of a Captain, played by Daniel Auteuil. He is deeply in love with his wife, played by Juliette Binoche. There are some tender scenes of their lovemaking as well as scenes in which it is clear that he adores her and respects her in all ways. And so, when she sets out to reform the convicted murderer, he supports her wish. The convicted man is allowed out of his prison cell and accompanies her all over the province. He helps out the townspeople and works with her to plant a garden and learns to read. He even impregnates a local woman and marries her. Everyone in the town grows to admire this man and nobody wants the execution to take place.

What will happen? I was drawn into the story and, along with the townspeople, I too hoped he would eventually get his freedom. But the story is not as simple as that. And, as the tension heightened and moved towards its conclusion, I found myself clearly upset as I saw the way it was going.

This is a good film. The story and acting and cinematography are all excellent. It moved a little too slowly for my taste, however. And I found it hard to believe that the condemned man would be given so much freedom to move around the town. But this doesn't detract from the quality of the film, the empathy I felt throughout for all the characters or the subtleties of characterization that made the story seem real and poignant.

Do not watch this film
This film is laughably bad. The entire plot is completely unrealistic and it is difficult to have any sympathy for the cruel murderer who is central to the plot, who is not only a murderer but also totally retarded, missing numerous opportunities to escape and make life easier for himself and the saps who for some random reason have taken it upon themselves to look after him. This film is an absolute waste of time, but feel free to watch it if you feel like wasting 107 minutes of your life.

A sad, hyper-ideological film of little consequence
Lots of stilted pseudo-intellectual dialogue. A pseudo existentialist hero. A painfully ideological lecture against the death penalty. Stilted performances by brilliant actors. A receipe for disaster. Why this film was a hit, I have no idea. ... Read more

Reviews (12)

"I never belonged to anyone."
I make a point of watching any film directed by Patrice Leconte, and "The Hairdresser's Husband" is perhaps both his finest and his most obscure work. The veteran French actor Jean Rochefort is Antoine--the hairdresser's husband, and Anna Galiena is Mathilde, the hairdresser.

As a child, Antoine learns to love going to the hairdresser--Madame Shaeffer, a rubenseque, heavily-scented woman whose impressive bosom awakens Antoine's budding sexuality. Antoine becomes obsessed with the hairdresser, and when Antoine's father asks the boy about his future ambitions, Antoine proudly announces to his shocked parents that his ambition is to be a married to a hairdresser one day.

Mamy years later, Antoine--now a man in late middle-age--spies the beautiful Mathilde as she flicks idly through a glossy magazine in the window of her hairdressing salon. Antoine is intrigued with Mathilde, and when she gives him his first haircut, all thechildhood memories of Madame Shaeffer return. The powerful memories of those first childhood sexual experiences lead Antione to immediately propose marriage. Mathilde accepts, and the two lead a blissfully happy life in a world that has very little to do with reality.

Mathilde is a mystery. She never brings up her past, and yet it is clear that her life has not been happy--hence her willingness to escape into Antoine's fantasies. But there are warning signs--she refuses to discuss her past and dreads growing old, but in her role as Antoine's living, breathing fantasy, Mathilde holds no curiosities for Antoine. Antoine's need--to transform Mathilde into the object of his desire and obsession absorbs her into this role, and this inevitably leads to destruction--for fantasies that become reality shatter under examination.

This strange tragic love story juxtaposes memories from Antoine's childhood against Antoine's idyllic life with Mathilde, and this accentuates the idea that we evolve into adulthood, but still connect with the childhood passions we can remember--sometimes all too well.

The acting in this beautiful film is simply superb--Jean Rochefort is sympathetic as the lonely Antoine who loves without asking questions, and Anna Galiena is exquisite as the mysterious, sensual, and sad Mathilde who exists only within the confines of her husband's fantasies.

A One of a Kind Romance Story
This truly unique film goes deep inside the development of a man's true love for the woman of his dreams. What appears to be a fixation rooted from childhood feelings towards a hairdresser and the good-feeling they represent, is a unique love that spurs pure from the heart. In return, the recipient of this love is also a giver and the relationship these two people share is greater than any outsider can understand. A twist in the end of this picture forces one to analyze the true passion this couple had for each other. A refreshing unique expression of love is displayed here, which sets itself apart from the typical boy meets girl film. As most foriegn films dicate: God is in the Details. Watch closely and enjoy.

Touching and emotional film
Like a previous person, I make a point of watching any film directed by Patrice Leconte. I also think "The Hairdresser's Husband" is perhaps both his finest and his most obscure work.

This touching film stars veteran French actor Jean Rochefort as Antoine--the hairdresser's husband, and Anna Galiena is Mathilde, the hairdresser ... enough said!

The film portrays life at its finest as well as its most sad times. I found the film a little slow at some points but neccessary to enforce the fact that sometimes life is just peaceful and inactive and at times - rash and quick.

Bittersweet Vision of Love and Sex
I found this film to be fascinating and touching, especially if you are yourself in the middle of the first three months of a torrid love affair. As a woman, I hope that men are capable of feeling as the protagonist does about his personal fetish-female--I tend to think not, but it's the kind of thing we long for (ok, maybe only some of us long for...others may find it merely weird and incomprehensible). The film definitely touches on many erotic elements that may not be everyone's cup of tea, but the film is so visually charming and almost tactile in its depiction of sex that I think everyone will find something to like in it.
I agree with the other reviewer in that it is a real shame they have never released the soundtrack. It should come as no surprise that the composer for this film, Michael Nyman, also did the music for "The Piano"--a movie which has a similar sensibility (and both films were directed by women, I believe!)

Try to see this film when you are either in love or thinking about it.

Amusing, Sexy, Bewildering, Must watch
I've watched this flick now with two groups of people. The first time was with a bunch of my guy friends, some of who are artsy fartsy and some who are white trash. We all loved it. We found it hilarious, especially the "dancing" scenes. We also found it bewildering, but not quite weird. I just recently watched it with my girlfriend and 4 of her friends and their recations were quite different. Of course they found it funny by his dancing, but they found their relationship downright weird and the whole plot weird, but yet they still couldn't keep talking about it. Nontheless this is a good non-mainstream movie to check out, it may leave you wondering what the heck you just watched, but your life will be better from watching it. Trust me. ... Read more