Mécaniques célestes

This movie is beautiful to watch and wonderful to listen to. If the plot and character development had been given as much attention as the look and sound, it would have been a classic. Still, well worth investing yourself in tis film.

This movie is truly an original piece. It is a very funny comedy that makes you care for the lead actress and her Cinderella role.

Cannes Camera d'Or winning director, Fina Torres gives us one of the most eclectic, visually and ethnically rich takes of the Cinderella story ever, in a modern, realistic (I'm serious) setting. A hit at Sundance in '95, Ms. Torres announced here at its post-Sundance premiere, that the film had not only picked up US distribution, but remake rights had been bought by Disney. By all means, SEE THIS ONE. Don't wait for the Disney remake! A co-production in the broadest sense(Venezuelan-French-Belgian-Portuguese-Spanish), CELESTIAL CLOCKWORK, manages to add to this melange Cuban, Afro-Caribbean, Italian, gay, and operatic elements and characters. European stars, the French Arielle Dombasle(as Celeste) and the Spanish Ariadne Gil ("Cinderella") both showing off credible Latin American Spanish accents are excellent as the leading rivals.(The film also has extensive French and English dialogue.) Buy or see the movie for its visuals and hilarious plot, and don't forget the soundtrack (the first thing I bought), featuring some of the best Latin sounds of any movie this decade, not to mention the beautiful arias from the opera "La Cenerentola" (Cinderella) on which the movie is loosely based. The Ariadne Gil character is an opera singer, Arielle Dombasle's is a gorgeous techno-pop performer, while their entourage dances to salsa and party music. Sounds too far-fetched? It's not. It all makes sense and satifies all your senses. To round out its far-reaching cultural diversity, the film's Spanish speaking characters have a happy Hollywood ending, in fluent French.

1st watched 4/26/2002 - 6 out of 10 (Dir-Fina Torres): Light-hearted and dreamlike story of a young Venezualan who runs away from a impending marraige to try and make it in France as an Opera singer. Ariadna Gil, as Ana, is very likeable as the star of this movie and has a charm that captures you as well as a voice that takes you away. She befriends a variety of people, everything from psychics, witch-doctors, and movie-star wannabes which makes for a very mixed bag. Her best friend ends up being a gay psychic who foretells her future and directs her paths. This is the second best character in the movie, next to Ana. He becomes her vision-maker and gently pushes her into her eventual stardom. This movie is really a simple story(girl leaves doldrom life and becomes a star) but the complexities of the characters she comes across broaden the movie's appeal.

So many positive comments for this film I had to throw some reality in here. Now maybe if you are a woman going through a midlife crisis or someone who gets really hot about movies that have to do with the Tango you will like this movie.

I found the camera's obsessive adoration of the female lead and her impish expression when lip synching opera to be just too precious. I walked out after 45 minutes because I just couldn't take it anymore. I at least find Hitchcock's obsessiveness with a star interesting in its perversity and he had the sense to try to mask it. It is bare and naked here and very embarassing.

I wish that I drank so that I could forget this film. Unfortunately I can't think of any other movie that would be better which maybe a comment on my limited movie going or the lack of films with female characters that are comedies.