Opiniones de usuarios

Exquisite direction, beautiful cinematography and precise performances of all the entire cast cannot prevent this film of being excessively cold. The mood tries to recreate the unexciting existences and fatalist life philosophy of the Brönte sisters, but it makes the film icy and a little dull. However, the worst of all is that you can rarely connect with such cold characters through freezing (but after all deliberate) acting. Nice effort, but failed anyway.

The Bronte Sisters hilariously stars Isabelle Adjani who was a sensual beauty in her youth as Emily Bronte, the sister most likely to be honored as a historical figure having resting B - face. Have you seen a portrait of Emily? She looked permanently ANGRY, as if she were annoyed at being painted. By all accounts, she was a loner who had two friends her entire life outside the family, who preferred the company of animals and nature and she is repeatedly quoted in the film as having a deep disdain for the illusion of romantic love (anyone can confirm, who is educated enough to read Wuthering Heights as ABSOLUTELY NOT being a romance novel, but as Emily's complex book of horror comedy which mocks and derides youthful passion).

And that's the least of this film's problems, as it focuses far too much on the bitterness and loss in the lives of both sisters and brother Bronte. But it is a lovely film to look at, and has biographical merit in its substance, at least.

"Les Soeurs Brontë" is an undeniably handsome production, but also a bleak and shallow film. For at least half its length, it could be re-titled "Branwell & Co.", because he is the main character. But even when the sisters have the film to themselves, Andre Techine and his co-screenwriters have chosen to focus too much on their misery and not enough on their artistic / creative impulses and processes. If you bypass the obvious language discrepancy (at one point, one of the sisters says "we know a little French" - the entire film is in French, of course), the three female leads are well-cast, especially as sisters: Marie-France Pisier (who later became a novelist herself) outshines her two more famous co-stars on this occasion. ** out of 4.

When the movie was released,it met mixed critical reception.The director seemed more interested in Brother Brontë and the audience was waiting for the sisters ,or should I say the actresses ,Marie -France Pisier (an intellectual thespian) ,Isabelle Huppert ,the rising star and above all ,Adjani the idol of the crowds of the era.

Objections to this costume drama remain:too few of the scenes are really potent,the actresses are too attractive (have you seen portraits of the sisters ? They were not really beauties ),nothing (or almost nothing ) deals with literary creation ,unless some (splendid) pictures of the Moor count.

It's interesting to note that the movie was cut drastically: they say almost an hour is missing .It's hard to judge a truncated version.Maybe some day ,the film as intended by Téchiné will be shown.

Premiered in Cannes and competing for Palme d'Or, Téchiné's elusive biopic about the world- famous British literature siblings met with a cold shoulder from both critics and its audience, its reputation has been reviving through time, a BluRay release is a timely step and gives a full-blown flair to this artistic project.

Starring Pisier, Adjani and Huppert, three distinctly beautiful French actresses as Charlotte, Emily and Anne Brontë respectively, and casting a then unknown Greggory as their brother Branwell, in fact, the film could be more aptly renamed as "BRANWELL BRONTË AND HIS THREE SISTERS", because his story takes a great chunk of the narrative. If one had done some background check beforehand, one would know that three of the four siblings were struck by early death, survived only by Charlotte and their father Reverend Patrick Brontë (played by the Irish veteran Magee), so death foregrounds itself as a sombre motif in the contexts, starting with their aunt Elizabeth (a wayward presence from the singular-looking Sapritch), tragic events ensue and render an elegiac sheen of pathos so astute that it permeates into the bleak surroundings and strikes spectators hard.

From the outlook of a language purist or a British loyalist, a Francophone adaptation is something of a travesty, only caters to Francophiles, which might explain its tepid reception at the first place, but Téchiné's aesthetic technique is so astonishingly eloquent, faithfully depicts the plight of intellectual women in Victorian era and knowingly nitpicks the snobbery of the aristocracy, taps into its locale's unique heath topography aided by breathtaking camera-work from DP Bruno Nuytten (Adjani's then partner), an immediate analogy off the top of my head is Andrea Arnold's outlandish offering of WUTHERING HEIGHTS (2011).

Branwell, the only male heir in the family, is a spoilt child, juggling between poetry and painting, his talent is strangled by a failed affaire du coeur with a married woman Ms. Robinson (Surgère, braves herself to a mismatch with a man much younger and immature than her), Greggory's effete physique, emotionally clingy affectation takes the challenge roundly. But it is the trio of actresses what our hearts hanker after, the two Isabelle, both in the acme of their youth, Ajani's Emily is a hard-bitten dissenter of romance and love, of fame and material trappings, even in her dying days, she draws the line at modern medicine and craves for a natural cure, she is iron-willed and portrayed as an archetype of modern feminism, which also lies the assets of WUTHERING HEIGHTS. Anne, the youngest of them, is dwarfed by her sisters in her work, seems to be a diffident, observant gal, but Huppert embodies herself with somewhat mature sensitivity, which faintly counterbalances her youthfulness.

In all fairness, it is the late Ms. Pisier, whose restrained but deeply affecting presentation of Charlotte, leaves the most memorable print on Téchiné's handsomely manufactured adaptation, meanwhile, the attendant score, an eclectic melange of classical music from Tancredi, Rossini and Schumann, runs fluently and channels the emotional upheaval of the fairly rambling plot, until a tranquil finale where some peace finally can be found under the glossiness of fame and success.

Although I saw this film in 1979/1980 it was one of the most memorable movies of my movie viewing days. The photography was excellent and is to my mind one of the best alongside 2 or 3 other films that have appealed to my artistic senses. At the time I thought 'trust the French to make a movie about the English that is so beautifully executed'. This may sound very "highbrow" but not really. If you are into foreign language films well acted and visually appealing this is a film for you. I have been searching ever since for a chance to view it again. Top Marks 10/10

it is not exactly the expected biopic. and this represents its basic virtue. because, after its end, you discover than it is the best manner to present the Bronte universe. in cold images, using a magnificent cast, as fragments of memories, silence, dust and expectation. as a trip around the corners of a world who remains enigmatic. a film about a family. as a painting in Pointilist style. because all is discovered behind the shadows. because it is a poem about survive. and one of films who, after its end, grows up in yourself. this fact does it special. real special. almost like a memory. because it has the wise science to be a film about people more than about theirs books. and the result is fantastic - the people becoming theirs characters.

This is the one single wonderful biography about the Brontës!

You feel, it's French: cold, realistic and authentic... Ok, and it seems to be a little boring at the beginning; and there is no one single highlight turing the whole film. But isn't it a magnum opus? I think, exactly this kind of silence gives the film its power. Listen to the words! There is almost no dialogue without a hidden allusion to poems by the Brontë-sisters.

And Isabelle Hupperts' sensitive performance is definitely outstanding.

A feast of perfect acting (the three actresses earn applause), inspired direction and splendid photography (which evokes the outside and the inner landscapes of the sister writers), but strictly reserved to Bronte admirers. The screenplay, built upon continuous references to the Bronte artistic work, can create a sense of icy estrangement, but who is familiar with the writings and the life of the Bronte sisters (maybe through the cult Charlotte bio by Elizabeth Gaskell) will be enchanted. It is a pity this movie remains mainly unseen. The only chance to obtain it at the moment is to get the Spanish DVD which also features the French version.