![]() ![]() ![]() All the male characters become supporting ones compared to Huppert, but of course they are excellent. Of course the classical score, based on Verdi's Traviata but also drawing from other sources, heightens the story. Cinematography does help, as does montage (the scene with Alphonsine in ecstasy followed by the slaughterhouse where she drinks blood, for instance). Psychoanalytically it also has interesting things to say, like Plessis treating her daughter like yet another man/ suitor at times, or when she goes to live to the rich man's palace, she is given his MOTHER's room (not his own). Quibbles aside, this superb film is just perfect. DeLuca is right that there is a sort of "didactic" hammering on our main character spitting blood. You will probably have strong feelings for Alphonsine, who plays with the bad cards life has given to her, from her pimp father to her ill health. We all know the story, but in this case Huppert and the director Bolognini make this stand out from the rest. ![]() It's as if the film rose from its "material support" so to speak, and you could really see the film as close to how the artist intended it to be. During 1844 Dumas moved to Saint-Germain-en-Laye to live with his father. These issues all profoundly influenced his thoughts, behaviour, and writing. In boarding schools, Dumas fils was constantly taunted by his classmates. Some films achieve the inexplicable "art" status by being beautiful, true, as well as emotionally touching, independently of the actors, plot or cinematography. Dumas' paternal great-grandparents were a French nobleman and a Haitian woman. ![]()
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