Mélo ist ein französisches Filmdrama von Alain Resnais aus dem Jahr Als literarische Vorlage diente das gleichnamige Theaterstück () von Henri. Melo ein Film von Alain Resnais mit Sabine Azéma, Fanny Ardant. Inhaltsangabe: Im Paris der er Jahre verliebt sich ein Konzertviolinist in die hübsche. Komplette Handlung und Informationen zu Mélo. Die alten Studienfreunde Marcel und Pierre sind mittlerweile beide Violinisten. Marcel ist ein berühmter Virtuose. Melo ein Film von Alain Resnais mit Sabine Azéma, Fanny Ardant. Inhaltsangabe: Im Paris der er Jahre verliebt sich ein Konzertviolinist in die hübsche. Marcel Blanc, Violinvirtuose, Weltenbummler und Frauenheld, trifft alle Jubeljahre seinen Studienfreund Pierre Belcroix, erster Geiger in einem kleineren Orches. Filme · Kinderkino · Events · Bonusmaterial. Kalender. Filmpodium. Kino/Cinema. Standort/Location Zurück. Mélo. Alain Resnais (Frankreich ).
Melo Film Inhaltsverzeichnis VideoMélo (1986) Bande Annonce VF [HD] The mis-en-scène rules this film - it's a very big plus. s interiors, artworks, multiple mirrors and every shot framed meticulously. It's deliberately stagey, being closely based on a play from the 20s and even gives shots of a proscenium arch and curtains from the point of view of a theatre audience. Ironically it's the varied placing and /5(). Mélo est un film réalisé par Alain Resnais avec Sabine Azéma, Fanny Ardant. Synopsis: Pierre, violoniste, invite un de ses amis virtuose, Marcel, à dîner et lui présente sa jeune femme 3/5().
Filme von Alain Resnais. Kategorien : Filmtitel Filmdrama Französischer Film. Namensräume Artikel Diskussion. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte.
Hauptseite Themenportale Zufälliger Artikel. View All Photos 5. Movie Info. They remain friends as adults, even if their lives have turned out very differently: Marcel is now a noted solo violinist while Pierre is an undistinguished player in a symphony.
This becomes evident when Marcel takes an unhealthy interest in Pierre's wife. Alain Resnais. May 3, Pierre Arditi Pierre Belcroix.
Fanny Ardant Christiane Levesque. Jacques Dacqmine Dr. Catherine Arditi Yvonne. Alain Resnais Director.
April 24, Full Review…. Top Critic. April 4, Full Review…. March 6, Full Review…. View All Critic Reviews 5. Oct 16, After seeing his film "Melo" last night, I stand corrected.
Its very staginess cannot be disguised by any amount of camera movement. Romaine Sabine Azema and Pierre Pierre Arditi are a happily married couple whose bliss is only marred by their childlessness.
They are joined one evening for dinner by an old friend, Marcel Andre Dussollier. By the time he departs, he extends an open invitation to the couple to come by and visit him to hear him play the violin.
Romaine instigates the affair with Marcel, and carries it forward even as her husband, Pierre, falls ill. She may even be purposely giving Pierre a treatment that adds to his misery.
After Marcel returns from a concert tour and Romaine stoops to a new low in abandoning Pierre for an assignation, she reconsiders the affair and takes a drastic step.
Three years later, Pierre pays Marcel a visit to demand the truth. Will the jealous and aggrieved Marcel manage a convincing performance?
The title is a chic abbreviation for 'melodrama', of which there's no shortage in this urbane period piece about a lovelorn musician enjoying an affair with the wife of his best friend.
Director Alain Resnais makes no attempt to open up Henry Bernstein's stage play or hide its theatrical trappings, going so far as to fade in and out of a shot of closed curtains between each 'act'.
The story offers plenty of food for thought, but the nuances of each relationship are undermined by the often dry and detached script readings, punctuated by moments of deliberate histrionic overkill, most of them provided by an all-too animated Sabine Azema, playing the wife of one man and mistress to another.
Nevertheless it's a welcome return to Earth for an erstwhile pioneer of some of the most opaque French New Wave cinema, showing a subtlety rare even for such highbrow entertainment.
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Get some picks. However, Marcel meets and falls in love with her, which Marcel little suspects. Marin Karmitz Catherine Lapoujade.
If it's old and French I'll try to watch it but I'm not having a great run with Resnais so far. It's deliberately stagey, being closely based on a play from the 20s and even gives shots of a proscenium arch and curtains from the point of view of a theatre audience.
Ironically it's the varied placing and movement of the camera which gives the film some life that would otherwise be completely lacking.
I'm not sure this play should have been revived I was actually planning to have Hiroshima Mon Amour as my first Alain Resnais film but this is readily available on Mubi and it'll leave the streaming service tomorrow, so I immediately jumped on it.
Not sure if I really liked it but it does have excellent performances from the entire cast. That's something I'm absolutely positive about.
Beautiful staging, though. Reviewed on Cinema Eclectica. I remember reading a review of Radiohead's Kid A when it came out which accused the band of "playing with one hand tied behind their backs", an accusation which now seems almost magnificently off-base.
It definitely fits for this mid-period Resnais, in which a man whose debut film opens with one of the most remarkable montages ever cut together has apparently thought, eh, maybe just don't bother editing?
The entire first sequence is a carefully studious workaround the degree rule, which is only initially "broken" as a character starts telling a story with punctuated elements of the cinematic language close-ups, movement, changes in perspective, etc.
Its willingly exaggerated romantic tragedy functions within levels of text that allow for such grand acting choices and inspired embellished writing, while retaining a certain earnestness despite the artificiality of it all.
Beautiful sets and dramatic lighting changes, too, fully taking advantage of the stylistic disposition. Might as well be my favorite melodrama since Lorde's.
Three years later, Pierre visits Marcel to seek the truth, and Marcel tells him that no illicit affair occurred, thereby honoring her memory.
It's not obscure, but it's difficult to understand what it is about the project that so fascinates this most sophisticated and intellectual of French film makers.
A curtain falls between acts, and scenes are played in extended, fluid, unbroken takes that evoke the theatrical experience. Unfortunately, the film's opening scene sets such a high standard that nothing that follows can come up to it.
Scott Foundas of Variety wrote that Resnais' films involve "seeing just how far he can ostensibly push an audience away by exposing his artistic scaffoldingMélo is a French romantic drama film directed by Alain Resnais and starring Fanny Ardant, André Dussollier, Sabine Azéma and Pierre Arditi based on the play by Henri Bernstein. The film is slow, but you don't feel it as slow, because all the performers are taking their work seriously, and giving their best to their parts. Melo proves that Alain Resnais is a true artist. Many have tried to do something like Melo, but only Resnais has succeeded. Alain Resnais’ masterpiece, easily his best film in years, is bound to baffle spectators who insist on regarding him as an intellectual rather than an emotional director, simply because he shares the conviction of Carl Dreyer and Robert Bresson that form is the surest route to feelings. Storyline In Paris in the s, a concert violinist meets and falls in love with a stylish young flapper who's the wife of an old friend. Romaine instigates the affair with Marcel, and carries it forward even as her husband, Pierre, falls ill. She may even be purposely giving Pierre a treatment that adds to his misery. Synopsis Pierre Belcroix and Marcel Blanc are violinists and lifelong friends living in Paris in the s. While Marcel has become famous and Pierre has not, both are happy with their lives. Pierre is happily married to Romaine, a stylish young flapper. Unsere Webseite verwendet Cookies. Gott, du kannst ein Arsch sein! Gerne gesehen.