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Vorsicht Sehnsucht

Originaltitel: Les herbes folles
  • 2009
  • PG
  • 1 Std. 44 Min.
IMDb-BEWERTUNG
6,2/10
4060
IHRE BEWERTUNG
Christine Renard in Vorsicht Sehnsucht (2009)
A wallet lost and found opens the door to romantic adventure for Georges and Marguerite.
trailer wiedergeben2:02
1 Video
20 Fotos
DramaRomance

Füge eine Handlung in deiner Sprache hinzuA quirky woman who spends her free time as a pilot has her purse stolen; when a mysterious man finds her wallet, they embark on a peculiar romance.A quirky woman who spends her free time as a pilot has her purse stolen; when a mysterious man finds her wallet, they embark on a peculiar romance.A quirky woman who spends her free time as a pilot has her purse stolen; when a mysterious man finds her wallet, they embark on a peculiar romance.

  • Regie
    • Alain Resnais
  • Drehbuch
    • Christian Gailly
    • Alain Resnais
    • Laurent Herbiet
  • Hauptbesetzung
    • André Dussollier
    • Sabine Azéma
    • Anne Consigny
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,2/10
    4060
    IHRE BEWERTUNG
    • Regie
      • Alain Resnais
    • Drehbuch
      • Christian Gailly
      • Alain Resnais
      • Laurent Herbiet
    • Hauptbesetzung
      • André Dussollier
      • Sabine Azéma
      • Anne Consigny
    • 34Benutzerrezensionen
    • 128Kritische Rezensionen
    • 65Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 3 Gewinne & 14 Nominierungen insgesamt

    Videos1

    Wild Grass
    Trailer 2:02
    Wild Grass

    Fotos20

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    Topbesetzung37

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    André Dussollier
    André Dussollier
    • Georges Palet
    Sabine Azéma
    Sabine Azéma
    • Marguerite Muir
    Anne Consigny
    Anne Consigny
    • Suzanne Palet
    Emmanuelle Devos
    Emmanuelle Devos
    • Josepha
    Mathieu Amalric
    Mathieu Amalric
    • Bernard de Bordeaux
    Michel Vuillermoz
    • Lucien d'Orange
    • (as Michel Vuillermoz de la Comédie Française)
    Edouard Baer
    Edouard Baer
    • Le narrateur
    • (Synchronisation)
    Annie Cordy
    Annie Cordy
    • La voisine
    Sara Forestier
    Sara Forestier
    • Elodie
    Nicolas Duvauchelle
    Nicolas Duvauchelle
    • Jean-Mi
    Vladimir Consigny
    • Marcelin Palet
    Dominique Rozan
    Dominique Rozan
    • Sikorsky
    Jean-Noël Brouté
    • Mickey
    Elric Covarel Garcia
    • Acolyte aviation
    Valéry Schatz
    Valéry Schatz
    • Acolyte aviation
    Stéfan Godin
    Stéfan Godin
    • Acolyte aviation
    • (as Stefan Godin)
    Grégory Perrin
    • Acolyte aviation
    Roger Pierre
    Roger Pierre
    • Marcel Schwer
    • (as Roger-Pierre)
    • Regie
      • Alain Resnais
    • Drehbuch
      • Christian Gailly
      • Alain Resnais
      • Laurent Herbiet
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen34

    6,24K
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    9robert-temple-1

    'Mama, when I become a cat, will I be able to eat cat munchies?'

    The great master of the French cinema, Alain Resnais, has produced this bizarre, brilliantly made and intensely surrealist 'crazy masterpiece'. It is based upon a novel entitled 'l'Incident' ('The Incident') with which I am unfamiliar, so it is difficult to know how much of this film originated from the febrile brain of Resnais himself. The story and its treatment carry on the long-standing French traditions of two literary movements: surrealism and 'unanisme'. The surrealist input is immediately obvious, because the story itself, although realistically portrayed, is inherently entirely surrealist. It begins with an 'incident', namely the theft of a purse from a woman who has been shopping in the Palais Royale in Paris. For several minutes we do not even see her face, but only the back of her head, and her face only appears for the first time floating in a bath. It was André Breton's famous surrealist novel 'Nadja' which focused the minds of the entire French intelligentsia upon the importance of chance events which lead to chains of further complications and create a whole alternative future to that which might have been. (Kieslowski and other film directors have exploited this motif in numerous films.) This story commences in just such a way. And then further chance events ensue, such as the man finding the stolen purse and becoming obsessed with the woman who owned it, especially because she has a pilot's licence in the purse and he is obsessed by airplanes and female solo pilots. The influence of 'unanisme' on this story is shown by the intense portrayals of only tiny portions of the backgrounds, stories, and motives of the characters, with the emphasis being given to them acting as a group, and we the viewers being left to imagine the rest. In other words, exposition is below the minimum, and we never do learn what is wrong with all these crazy people, and it is their interrelations which dominate. These techniques were above all pioneered and demonstrated by the French novelist Jules Romains, who founded the literary movement known as 'unanisme'. Having read 27 novels by Romains, I have more than a passing familiarity with his work. It has been more influential than people tend to realize. It must be kept firmly in mind that this Resnais film contains a great deal of gnomic humour and sly jokes. It is not meant to be taken any more seriously than life itself. Some of the references are incomprehensible, as they are doubtless meant to be: why do we keep seeing the camera moving over swaying wild grass in a field? Why do we see so many pavement cracks with tufts of wild grass growing out of them? We shall never know. Many of the shots, editing, compositions, angles, and moods are so outstanding that we can see clearly that Resnais has lost none of his genius in his long career. As always, much in this film is never meant to be explained, but is only suggested, and we can make of it what we will. All of the leading characters are eventually shown to be seriously mentally unbalanced, and I take this as Resnais's view of humanity generally. And who can say he is wrong? There is a lot to be said for the theory that everybody is insane. That would then explain everything about the world. In fact, the only sane person in this film seems to be the little girl who asks about the cat munchies. And we do not even know who she is. This film is funny, sad, shocking, upsetting, provocative, thoughtful, disturbing, incomprehensible, deeply meaningful, irrational, profound, and many other things besides, but why use up all the adjectives when there is a compulsively fascinating movie to watch instead.
    7philiposlatinakis

    Fun little movie

    Well I don't know what it was about. Maybe there wasn't much going on. The wild grass must have symbolized something seeing as it kept cropping up all the time. The premise for the romance was interesting I suppose. There was a very playful element to the film, both in the form and the narrative. It's just an "art" film in the end. No excuses. Funny thing is, I really enjoyed it and couldn't take my eyes off the screen. Totally bizarre ending, which fit the film very nicely. I suppose it helps to come into the movie with low expectations. Don't get awed by the name Resnais (my god, but wasn't Last Year in Marienbad pointless? and compelling?). It's a fun little movie.
    8howard.schumann

    Bizarre twists and turns

    A surreal, madcap, on-again, off-again romance between a married 63-year old father of two and a middle-aged dentist and airline pilot is the subject of 87-year old French director Alain Resnais' latest film, Wild Grass. Based on Christian Gailly's novel, The Incident, from a screenplay by Laurent Herbiet and Alex Reval, Wild Grass treats its characters with respect and humor, yet the film, winner of the Jury Special Prize at the 2009 Cannes Film Festival, stands out more for the colorful cinematography by Eric Gautier and fine acting from Resnais' regulars Sabine Azéma and André Dussollier than for its puzzling narrative.

    The couple, Marguerite Muir (Azéma) and Georges Palet (Dussollier), meet after Marguerite, out shopping for a new pair of shoes, has her purse stolen by a thief on roller blades and consequently loses her red wallet filled with money, credit cards, and identification papers. Georges, however, recovers Marguerite's lost wallet beneath the wheel of his car and returns it to the police. Interested in aviation and intrigued by a photo of the wallet's owner dressed in a pilot's outfit, Georges decides that he wants to meet her.

    After the police inform Marguerite that her wallet has been turned in, she calls Georges to say thank you but he is expecting more and his longing for connection is not satisfied, beginning a pursuit that soon becomes an obsession. He sends her letters, leaves messages on her phone, and slashes her tires to keep her at home but she wants nothing to do with him. Ultimately he persists until she informs the police of the unwanted intrusion in her life. Typical of the screwball relationship, however, she suddenly begins to pursue Georges on her own, making visits to his house late at night and waiting for him in a café outside of a movie theatre where he is watching a favorite film from his childhood, The Bridges at Toko Ri. "You love me, then," Georges exclaims when he sees her for the first time.

    Throughout it all, there is an underlying hint of danger with suggestions made about Georges' possibly violent past which outbursts of temper seem to underscore. Even so, everything is handled with a light touch and one never fears for Marguerite's safety and elements of danger or even horror are quickly replaced by rapid shots of romance and even snippets of musicals. Like other aged directors swan songs, Rohmer's The Romance of Astrea and Celadon, Bergman's Saraband, and Kurosawa's Madadayo, Resnais', in his latest work, continues to grow and experiment, although some may say that the styles of these octogenarian directors have basically remained consistent throughout their careers.

    Far removed from the seriousness of his most famous films, Hiroshima, Mon Amour and Last Year at Marienbad, just when you think you have figured out Wild Grass, Resnais' whimsy keeps shifting into new territory and its bizarre twists and turns, fake endings, and character reversals will keep you off balance right up until the film's final frame. Like the wild grass in the title which grows where it is least expected, nothing is predictable in this playful but often too cutesy little film.
    JohnDeSando

    Wild (Gr)ass

    "After cinema, nothing surprises us." Narrator

    In Wild Grass, Georges (Andre Dussollier) finds a wallet, finds the owner, Marguerite (Sabine Azema), and finds an odd connection with her and his inner self. I have no idea if I'm right in all of this—director Alain Resnais (Last Year at Marienbad) has never been easy, but its obscurity seemed to tell me something about being human and quite a bit about wild-ass filmmaking by an 88 year old director who's throwing everything into the pot and hoping it comes out a tasty stew. What Georges is pursuing in Marguerite, an eccentric dentist, is part a romantic notion of his past as it may relate to the cinema and yet the painful recollection of past deeds too dark to articulate. That cinema is artificial is a leitmotif at least. His acceptance, her acceptance, and their recurring animosity reflect in relief the vicissitudes of love in all the sordid glory from cinema.

    Even trips to the police for each of them are more like therapy sessions than the business of identifying the robbery victim (Marguerite) and thanking the finder (Georges). The same policeman, reacting with the incredulity that usually comes only from the audience, lends a surreal take on the strange antics of the principals. Resnais is at full force, even in his eighties, with symbolism from wild grass growing in concrete cracks, unusual feet and shoes, a stolen bag floating almost free, and aviation that like cinema floats free but not without its rules. He creates these images as motifs in order to make order of Georges' obsessions, which become erotic and dangerous even as he seems more lost in his dreams and cinema than ever before.

    As George repeatedly backs into the protection of the door to the cinema, we can be quite sure Resnais is certifying the salutary and comforting embrace of film.

    That dreamlike state, with the voice over so kindly parsing some of George's passions, is best expressed in the cinema, where Bridges at Toko-Ri makes solid the theme of lost friendship and the transforming of reality into our own visions.
    lynnehammar-666-459104

    Complete Time Suck

    I came to IMDb seeking solace after wasting several hours of my life on this film, which got a three-out-of-four-star rating by my satellite provider and sounded interesting. I typically enjoy foreign and independent films.

    I'm not sure why I stuck it through to the end ... maybe because it seemed like something would happen to make sense of the idiotic plot line, or at least help me understand something about the nauseatingly unlikeable characters! Needless to say, that didn't happen Glad I checked out the reviews here afterward, which gave me a good laugh. I enjoyed hearing others say they wanted not only their money - but their time - back after wasting it on this film.

    By the way, someone wrote that this premiered at the same festival as The White Ribbon. Watch that instead. It's also cryptic, but beautifully done, and you'll be on the edge of your seat for the entire film ... instead of wondering when to cut your losses and make your escape!

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    Handlung

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    • Wissenswertes
      The Spitire is a Supermarine Spitfire PR Mk XIX, number PS 890, built in 1945. It is owned by a French collector (as of 2016) and has the French registration code, F-AZJS. Since the film was made, it has been restored to its wartime colours of RAF 152 (Hyderabad) Squadron (which served in South East Asia)
    • Crazy Credits
      The credits show considerable variation in their presentation. The first credits seen are the individual actor names with the name of the character played, in a serif font, with shadowed letters. These credits are moving left to right across the screen, fading in and out at different points, over a background of the film's name in larger letters, in an italicized serf font. After the first ten actors, there is abrupt change to a sans serif font, again with shadowed text, for both the cast/ characters list and the film title. The film title is now angled up to the right and is not in clear focus. After the names of the cast, the credits start as scrolling white text on a black background using a serif font, then there is a change to a sans serif font and then a return to the serif font. The next change is to black text on a grey background using a serif font. This then reverts to white text on a black background with a serif font, then a change to a sans serif font and then a return to the serif font. These credits do not stay in a central position, but move from side to side on the screen.
    • Verbindungen
      Featured in At the Movies: Cannes Film Festival 2009 (2009)
    • Soundtracks
      Salue la Lune
      Written by Allan Gray and Walter Reisch

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    Details

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    • Erscheinungsdatum
      • 22. April 2010 (Deutschland)
    • Herkunftsländer
      • Frankreich
      • Italien
    • Offizielle Standorte
      • Official site
      • Official site (Japan)
    • Sprache
      • Französisch
    • Auch bekannt als
      • Wild Grass
    • Produktionsfirmen
      • F Comme Film
      • StudioCanal
      • France 2 Cinéma
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    Box Office

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    • Bruttoertrag in den USA und Kanada
      • 403.952 $
    • Eröffnungswochenende in den USA und in Kanada
      • 39.162 $
      • 27. Juni 2010
    • Weltweiter Bruttoertrag
      • 4.834.890 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 44 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
      • DTS
    • Seitenverhältnis
      • 2.35 : 1

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