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Die Flüchtigen

Originaltitel: Les égarés
  • 2003
  • Unrated
  • 1 Std. 35 Min.
IMDb-BEWERTUNG
6,5/10
3488
IHRE BEWERTUNG
Emmanuelle Béart and Gaspard Ulliel in Die Flüchtigen (2003)
Home Video Trailer from Wellspring
trailer wiedergeben1:49
1 Video
4 Fotos
DramaRomanceWar

Füge eine Handlung in deiner Sprache hinzuEmmanuelle Béart stars as a widowed schoolteacher who flees German-occupied Paris with her children. A teenage boy comes to their rescue by leading them into the forest -- their best shot at... Alles lesenEmmanuelle Béart stars as a widowed schoolteacher who flees German-occupied Paris with her children. A teenage boy comes to their rescue by leading them into the forest -- their best shot at survival.Emmanuelle Béart stars as a widowed schoolteacher who flees German-occupied Paris with her children. A teenage boy comes to their rescue by leading them into the forest -- their best shot at survival.

  • Regie
    • André Téchiné
  • Drehbuch
    • Gilles Perrault
    • Gilles Taurand
    • André Téchiné
  • Hauptbesetzung
    • Emmanuelle Béart
    • Gaspard Ulliel
    • Grégoire Leprince-Ringuet
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,5/10
    3488
    IHRE BEWERTUNG
    • Regie
      • André Téchiné
    • Drehbuch
      • Gilles Perrault
      • Gilles Taurand
      • André Téchiné
    • Hauptbesetzung
      • Emmanuelle Béart
      • Gaspard Ulliel
      • Grégoire Leprince-Ringuet
    • 28Benutzerrezensionen
    • 55Kritische Rezensionen
    • 70Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Gewinn & 5 Nominierungen insgesamt

    Videos1

    Strayed
    Trailer 1:49
    Strayed

    Fotos3

    Poster ansehen
    Poster ansehen
    Poster ansehen

    Topbesetzung10

    Ändern
    Emmanuelle Béart
    Emmanuelle Béart
    • Odile
    Gaspard Ulliel
    Gaspard Ulliel
    • Jean Delgas alias Yvan
    Grégoire Leprince-Ringuet
    Grégoire Leprince-Ringuet
    • Philippe
    Clémence Meyer
    • Cathy
    Samuel Labarthe
    Samuel Labarthe
    • Robert
    Jean Fornerod
    • Georges
    Eric Kreikenmayer
    • Le gradé
    Nicholas Mead
    Nicholas Mead
    • Le soldat blessé
    Mike Davies
    Mike Davies
    • Le jeune gendarme
    • (as Robert Eliott)
    Nigel Hollidge
    • Le réfugié
    • Regie
      • André Téchiné
    • Drehbuch
      • Gilles Perrault
      • Gilles Taurand
      • André Téchiné
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen28

    6,53.4K
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    Chris Knipp

    In the chaos of war, a confusion of identities

    It's a pity André Téchiné's brilliant little movie, Strayed (Les Égarés) comes to America not long after Jean-Paul Rappeneau's Bon Voyage, which treats the same event, the French wartime flight from Paris to the countryside, in a much more buoyant, charming manner. The contrast may make the much lower-keyed Strayed look a bit drab. But it's an intense, haunting film and pure Téchiné with its sexy, somewhat ambiguous relationships and intense encounters across generations.

    The sad-eyed, lovely Émmanuelle Béart is Odile, a recent war widow with a 13-year-old son, Philippe (Grégoire Leprince-Ringuet), and a seven-year-old daughter, Cathy (Clémence Meyer), on the road with all the others, in their own auto. Then suddenly when the convoy they're in is strafed by stukas and bodies are lying around and their car's a mess and they don't know what to do, a youth named Yvan (Gaspard Ulliel) appears out of nowhere, leads them into the woods to safety, and finds a big abandoned house for them to stay in.

    Yvan is a wild, lean young man with a hard body and sheared-off hair, like the brother Benoît Magimel played in Téchiné's 1996 Les Voleurs. Odile and her children are Paris people; they're brave but inept in these circumstances, and Yvan has survival skills they lack. Camping in the recently abandoned house, these people live for a few days as an unconventional family. Yvan is big brother, younger brother, husband, elder son, outcast, wild boy, protector, or provider to the others, alternatively indifferent and willing to do anything to stay with Odile.

    The wartime context has been clearly established and we know this can't last. There are curious paradoxes. The household is mad, disturbed, yet idyllic and peaceful. Yvan is wise beyond his years, yet ignorant and uncivilized. It emerges that he can't read. Philippe is a weak child and looks up to and tries vainly to bond with Yvan. But he's more civilized than Yvan, more mature in moral sensibility. It's clear that Yvan's sense of property is vague and so are his origins. He tells a strange story about a friend who has died, but his background remains mysterious.

    Strayed is as sad and brutal and incomprehensible as the war itself, and as such has more in common with Michael Haneke's apocalyptic Time of the Wolf (also just released in the US) than with Rappeneau's operatic, comedic, but ultimately hard to care about Bon Voyage. In Strayed, you don't have time as a viewer to prepare for anything, just like the characters. Suddenly Odile's car was hit and people nearby were dead. Suddenly a young man pulled Odile and her children off into the woods. Suddenly, after the odd idyll in the nice house has gone on for a few days, with Yvan catching rabbits for the others to eat, two French soldiers from Sedan appear and spend the night at the house. Suddenly when their awkward and threatening visit ends Odile and Yvan make love out in the dirt, like savages. Suddenly the whole interlude is ended and Yvan and the little family are separated. Yvan is taken away, and Odile and her children are in a refugee camp, little more than prisoners. Their moment of luxury and experimentation is over. C'est la guerre, Téchiné style.

    It's not contemplative: it's so vivid and immediate that, were it not for the crowd scenes and Forties clothes you'd question if it has any period flavor, but it's touching and alive and it leaves you a little bit devastated – if you've been paying attention – with just a hint of what it's like to be marked by war's abrupt gifts and deprivations. Strayed works on a smaller scale than Téchiné's best films, but you feel the Téchiné style in every scene. However modest, this is a compelling and accomplished piece of work.
    emeless

    War brings together unlikely people who then grow through the experience.

    A powerfully suspenseful film about how war tears lives apart, nearly destroys them, and then, amazingly, forces them to survive together. Set in gorgeous French countryside, beautifully acted and magically tense, the film is a strong reminder of man's beastial treatment of fellow humans. Redemption occurs while limited and lustful love develop. The point is in the mystery of people's behavior and its unpredictability. The lead actors, Beart and Ulliel are outstanding and memorable. As you might surmise from the opening scenes of wartime refugees in France, this is not a set up for a happy ending. But it is a profound story and a moving experience.
    8Tony43

    Captivating characterizations

    Andre Techini's "Strayed," or perhaps more accurately, "the lost" or "displaced" people, has a simple premise. A school teacher, whose husband was killed in the early days of the war, takes her two children and flees Paris in the face of the Nazi advance on the City of Lights. In the countryside, as they are stuck in a massive traffic jam made up of refugees, they are strafed by German fighters in a harrowing scene that reminds you a little of the bombardment of the advancing troops in "All Quiet on the Western Front."

    They lose their car and all their possessions, but are rescued by a strange, resourceful teenager who becomes their guide, companion, but in some ways, their charge, as they try to hide out -- from the war itself.

    This is the kind of film that most American audiences wouldn't like, because after that strafing run, not another shot is fired, not another blow struck. The story that plays out is about the main characters getting to know, tolerate and even grow found of one another, but then finding themselves faced with some uncomfortable choices.

    Gregoire LaPrince-Ringuet is very good as the 13-year-old boy of the family who might have been elevated to the man of the house status, had not the mysterious teenager arrived on the scene. But rather than show resentment, he winds up doing everything possible to become the older boy's friend.

    Gaspard Ulliel is quite effective as the older boy, a sort of domesticated wild child. But the film belongs to Emmanuelle Beart, who plays the mother.

    Beart's character is fascinating. She has lost her husband, her home, everything she has except her two kids. She is on the road with them, dead broke, dead tired and close to despairing. But of course, she is a tower of strength, right, magnificently holding her family together in the face of personal disaster and global chaos.

    Actually, no. Beart's character is depicted as a woman clearly out of her depth who can barely keep herself together in the face of the problems confronting her. She's like a ticking time bomb, ready to completely fall apart at any moment. The only thing that holds her together is her rigid, school teacher training that allows her to continue to run her fugitive family as if she is maintaining order in a classroom during an unplanned fire drill.

    And it works. Beart comes off neither as the typical weak, frightened woman Hollywood movies presented so often in the 50s, nor the kick butt superwoman that we see so often in American films today. Beart is so frightened during the air attack that she pees in her pants. She is so in need of structure to take her mind off things that she starts cleaning the windows of the abandoned home they later hide in.

    But she is also together enough to handle a couple of French soldiers who drift by, easily dealing with them when her self-appointed teenage protector is so unsettled by these two potential rapists he can't even stay in the house with them.

    Beart underplays her role, which features spartan dialogue to begin with. But there is a lot going on for her and you see it all playing out in her eyes, and behind her eyes as well.

    It is another great performance from this French star and the film would be worth seeing just to study her acting, even if she were not one of the screen's great beauties.
    7claudio_carvalho

    Beautiful Drama of War

    In 1940, while escaping from Paris with her two children, the widowed schoolteacher Odile (Emmanuelle Béart) has her car bombed by the German airplanes and is helped by the mysterious Yvan (Gaspard Ulliel). They move into the forest and the find a huge house, where they decide to lodge themselves. Although being only seventeen years old, Yvan arises the desire in Odile in times of war.

    "Les Égarés" is a beautiful drama of war. The story is very simple, but easy to understand the situation of the ordinary French people when Paris was invaded by the Germans in World War II before the shameful agreement of the governments of these two countries. I love Emmanuelle Béart, one of the best French actresses ever, and her love scene is one of the most sensual and erotic I have ever seen. Amazing how the director André Téchiné was able to shoot so intense eroticism in the dark. I was hypnotized by the beauty of this great actress, but the story is really attractive, original and good. My vote is seven.

    Title (Brazil): "Anjo da Guerra" ("Angel of War")
    8lawprof

    A Close Look at a French Family Caught in War

    "Strayed" is the second French movie released in the U.S. recently in which fleeing urban refugees seek to outrun the German Army when the so-called "Phony War" turned very real in the spring of 1940. Where "Bon Voyage" combines a serio-comic homicide and some high-strutting portrayals of sundry officials, a movie star, hangers-on and their sycophants, as well as a conventional anti-Nazi plot, "Strayed" is director Andre Techine's finely honed and narrowly focused look at a family trying to survive.

    Odile (Emmanuele Beart) lost her husband in the early days of the war (he died a hero-a must for any French WWII film). She and her two children, Philippe (Gregoire Leprise-Ringuet), thirteen, and Cathy (Clemence Meyer), about eight, abandoned their Paris home as German forces surged towards the city. Their car was destroyed by a marauding enemy plane and they narrowly escaped death. Trekking into the woods they're accompanied by a mysterious young man, still a teen, Yvan (Gaspard Ulliel), a fellow who seems to have considerable wilderness skills and whose very short hair was not in fashion among young French men at the time. A clue about his past. Yvan is not forthcoming about his pedigree or his recent activities.

    Yvan breaks into a lovely house abandoned by its owners, classical music performers. Before letting the family in he insures that they will be there for a while by several acts of sabotage.

    The story unfolds with relationships developing across age and gender lines, not without problems. Philippe befriends Yvan who can be haughty and dismissive of the younger boy, causing the latter pain. Cathy is a genuine, normal for her age pest, the kind who both exasperates and amuses. And the beautiful Odile finds it hard to resist being attracted to their mysterious benefactor who knows how to bring "home" if not the bacon, then the bunny.

    Unlike "Bon Voyage" there are no anti-Nazi polemical messages here. Technine provides the basic facts: loss of a husband and father, dislocation that, perhaps, was unnecessary (although Odile does remark that she wouldn't collaborate with the invaders), a dark, almost scary at times benefactor springing up from nowhere. Adapting to rapid change in a lush and verdant countryside still largely unmarked by combat is the key.

    Scenes are shot with mostly close-ups so that the characters' faces relay feelings. Very good cinematography.

    Technine is a good storyteller and Beart is quietly effective in the very familiar role of "What's a mother to do?" She hasn't resolved the loss of her husband - she still grieves - but she also can't repress her femininity and sexuality. Odile is very believable as are her kids.

    An impressive French film.

    8/10

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    Handlung

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    Wusstest du schon

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    • Wissenswertes
      Was a commissioned project. Jean Ramsay Levi of FIT productions had the idea to make a film from Gilles Perrault's short novel "The Boy With Grey Eyes" ("Le Garçon aux yeux gris") published in 2001.
    • Crazy Credits
      The end credits contain a disclaimer that the film is unrelated to the 1983 Goncourt Prize-winning novel of the same name by Frédérick Tristan.
    • Verbindungen
      Featured in Cinemania: I anodos kai i ptosi tou Nazismou (2008)
    • Soundtracks
      Zum ziele fuehrt dich diese Bahn
      from Die Zauberfloete

      Composed by Wolfgang Amadeus Mozart

      Sung by Grégoire Leprince-Ringuet

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    Details

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    • Erscheinungsdatum
      • 20. August 2003 (Frankreich)
    • Herkunftsländer
      • Frankreich
      • Vereinigtes Königreich
    • Offizielle Standorte
      • Official site (France)
      • Wellspring (United States)
    • Sprache
      • Französisch
    • Auch bekannt als
      • Strayed
    • Drehorte
      • Midi-Pyrénées, Frankreich
    • Produktionsfirmen
      • FIT Productions
      • Spice Factory
      • France 2 Cinéma
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Bruttoertrag in den USA und Kanada
      • 482.757 $
    • Eröffnungswochenende in den USA und in Kanada
      • 19.531 $
      • 16. Mai 2004
    • Weltweiter Bruttoertrag
      • 3.184.020 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 35 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • DTS
      • Dolby Digital
    • Seitenverhältnis
      • 1.85 : 1

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