CALIFICACIÓN DE IMDb
6.4/10
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TU CALIFICACIÓN
Agrega una trama en tu idiomaA London PI and ex-Paris cop investigates a missing person case that leads to child trafficking. With help from his friend Nathalie, a high-end escort, he pursues "the Austrian," a trafficki... Leer todoA London PI and ex-Paris cop investigates a missing person case that leads to child trafficking. With help from his friend Nathalie, a high-end escort, he pursues "the Austrian," a trafficking kingpin.A London PI and ex-Paris cop investigates a missing person case that leads to child trafficking. With help from his friend Nathalie, a high-end escort, he pursues "the Austrian," a trafficking kingpin.
- Dirección
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- 1 nominación en total
Opiniones destacadas
Daniel Auteil is perfectly cast for this role as a sleazy detective trying to escape a tragic past. Sure there are some cliche elements in the story but hey, isn't that why we come to see this sort of movie? The subject matter is grim and I was left wondering about the still-gorgeous Natassia Kinski's role in the story. I felt her character never really went anywhere. The twist at the end was really fairly predictable but nevertheless at its best this movie reminded me of Chinatown.
It is interesting that "8MM," with a plot so similar, came out the same year. I found this film more interesting and believable and far less dark and stomach-turning. It is well-filmed and acted with some interesting locations. The tension is well-metered. I enjoyed the colorfulness of the filming. The cosmopolitan/European flavor lends a great deal. I enjoyed the music as well. I would see this film again with a friend.
Saw this film late night on cable. The story really draws you in. Enjoyable tense drama with a disturbing subject matter. Daniel Auteuil does a very believable job as the private investigator caught up in a case deeper and darker than he expected. A tad predictable at the end but over all a good film.
Firstly, I quite enjoyed The Lost Son. I have never seen any of the films that Daniel Auteuil had been in before, so I did not go in with any preconceptions.
He was pretty good, despite his English being a bit hard to understand on occasion. It was nice to have a mix between his English and his native French when he spoke to friends from his homeland.
The story itself is a bit convoluted, but that really doesnt matter. It changes focus half way through and really is not about finding "The Lost Son", but really about his own personal revenge against the vile people who deal in the child sex industry.
I enjoyed the music by Goran Bregovic a lot, and am going to track down more of his work.
A solid 8 out of 10.
He was pretty good, despite his English being a bit hard to understand on occasion. It was nice to have a mix between his English and his native French when he spoke to friends from his homeland.
The story itself is a bit convoluted, but that really doesnt matter. It changes focus half way through and really is not about finding "The Lost Son", but really about his own personal revenge against the vile people who deal in the child sex industry.
I enjoyed the music by Goran Bregovic a lot, and am going to track down more of his work.
A solid 8 out of 10.
The Lost Son (1999)
All the elements are here for a classic noir-inspired investigation movie where no one is to be trusted and our leading man is a likable, steady, world weary paradigm. If you are familiar with "The Big Sleep" with Bogart and crew, you might actually get a sense of what this movie is trying to do. Not only does the plot begin in a similar way, with a rich family saying one of their members (the son) is missing and with the daughter being a steamy and somewhat unreliable secondary force (played by Nastassja Kinski), but then the rest of the movie proceeds to get increasingly confusing.
In "The Big Sleep" this is almost a positive thing, making it fast, visual, and experiential (meaning you get sucked into the world and can't stop looking and trying to keep up). Here, in "The Lost Son," it isn't what anyone would call fast, which hurts it because the complexity builds and the suspicions fester with lots of lulls, either whole short scenes that don't seem quite necessary or with an editing that makes every little cut one or two seconds too long. Which adds up to a kind of pace some people might like, a loitering and inhabiting this strange little nether world the movie creates. But for me it just made me fuzz out a little.
The leading detective, Xavier Lombard, is played by the really compelling French actor, Daniel Auteuil. He carries the movie even through it's pauses. Besides Kinski, whose role is small (and thankfully, really--she doesn't really "act" so much as say her lines), there is a second male lead, the Irish actor Ciaran Hinds, who is quite good. (He had a terrific role in the peculiar and enjoyable "Miss Pettigrew Lives for a Day.") And the filming is rather nice, with a huge range of scenes and moods, held together not only by the camera-work, but the solid directing by Chris Menges.
There will be an odd feel to this film for some American viewers, because it's an increasingly common hybrid of French and British filmmaking--language, crew, cast, and locations all spread out from one side of the Channel to the other. It's nicely European, but less of that familiar "British" film that many people know (or know without knowing they know it, looking vaguely like Hollywood). In short, this has a slightly fresh look. It does not however feel as new or odd or wonderful as some of the detective crime films coming out of, say, Scandinavia, among the European types.
This matters only in that half of the film is its atmosphere. The plot and some of the core acting could use a bolstering and maybe even a sense of necessity at times (the movie just keeps going through its attractive paces), but in all, it might even be a film you'd enjoy more the second time. Which says a lot.
All the elements are here for a classic noir-inspired investigation movie where no one is to be trusted and our leading man is a likable, steady, world weary paradigm. If you are familiar with "The Big Sleep" with Bogart and crew, you might actually get a sense of what this movie is trying to do. Not only does the plot begin in a similar way, with a rich family saying one of their members (the son) is missing and with the daughter being a steamy and somewhat unreliable secondary force (played by Nastassja Kinski), but then the rest of the movie proceeds to get increasingly confusing.
In "The Big Sleep" this is almost a positive thing, making it fast, visual, and experiential (meaning you get sucked into the world and can't stop looking and trying to keep up). Here, in "The Lost Son," it isn't what anyone would call fast, which hurts it because the complexity builds and the suspicions fester with lots of lulls, either whole short scenes that don't seem quite necessary or with an editing that makes every little cut one or two seconds too long. Which adds up to a kind of pace some people might like, a loitering and inhabiting this strange little nether world the movie creates. But for me it just made me fuzz out a little.
The leading detective, Xavier Lombard, is played by the really compelling French actor, Daniel Auteuil. He carries the movie even through it's pauses. Besides Kinski, whose role is small (and thankfully, really--she doesn't really "act" so much as say her lines), there is a second male lead, the Irish actor Ciaran Hinds, who is quite good. (He had a terrific role in the peculiar and enjoyable "Miss Pettigrew Lives for a Day.") And the filming is rather nice, with a huge range of scenes and moods, held together not only by the camera-work, but the solid directing by Chris Menges.
There will be an odd feel to this film for some American viewers, because it's an increasingly common hybrid of French and British filmmaking--language, crew, cast, and locations all spread out from one side of the Channel to the other. It's nicely European, but less of that familiar "British" film that many people know (or know without knowing they know it, looking vaguely like Hollywood). In short, this has a slightly fresh look. It does not however feel as new or odd or wonderful as some of the detective crime films coming out of, say, Scandinavia, among the European types.
This matters only in that half of the film is its atmosphere. The plot and some of the core acting could use a bolstering and maybe even a sense of necessity at times (the movie just keeps going through its attractive paces), but in all, it might even be a film you'd enjoy more the second time. Which says a lot.
¿Sabías que…?
- TriviaAfter 45 features in his native language, this is Daniel Auteuil's first English speaking role.
- ErroresLombard picks up a Walther PPK pistol with the magazine removed. He cycles the slide and then inserts the magazine. Although it appears he was charging the weapon, all he has done is ensure the gun is not loaded (there may be rounds in the mag, but there is no round in the chamber).
- ConexionesFeatures Dornröschen (1922)
- Bandas sonoras100% Pure Love
Written by Teddy Douglas, Jay Steinhour, Tommy Davis, Crystal Waters
Performed by Crystal Waters
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- How long is The Lost Son?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idiomas
- También se conoce como
- The Lost Son
- Locaciones de filmación
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- Ver más créditos de la compañía en IMDbPro
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- Presupuesto
- USD 2,000,000 (estimado)
- Tiempo de ejecución1 hora 42 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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