Nous étions libres

This is an absolutely top-rate film, and it's a crime it only has two stars. This finely done epic is perfect in every detail - concept, acting, direction, editing, sound, music, set decoration, costume design and everything else. It is also a crime that Sony didn't get behind it. This is an Academy Award level film that was thrown in the trash by Sony and it's distributors. I can do nothing but complain about the state of the entire American film industry when crappy remakes are pushed to the hilt, and drops of golden genius like this are ignored. Of course, the studio couldn't think of a "franchise" to make out of it, and there are no action figures to push. How long with audiences put up with the junk being pushed down our throats, remake after remake? Well, if recent box office is any judge, the public is getting wise. The studios, of course, are clueless.

I'll keep this simple -- this movie could have been great, but it wanted to be too much. It wanted to be epic, it wanted to be about friends and it wanted to be an anti-war movie and on top of that, it wanted to be about WWII and the underground work. I wanted to like this movie and while it's not impossible to watch, it is slow and plodding some times. This is a movie that really could have hit the audience hard, but it just kind of laid there instead.

We go through a long, long development of the relationship between the two main characters Charlize Theron and Stuart Townsend. This could have been story enough, but no, we have to follow them over a 10 or 15 year period and go all the way through WWII. Early on, we are introduced to Penelope Cruz who is a good friend to Theron's character. And from this we kind of slip into a pseudo-three-way that never fully develops. Then there is the Spanish Civil War that Cruz's character feels she must partake in as well as Townsend. Again, this could have been an interesting story all on its own. Finally, we get into WWII and it drags on and on and I started to lose interest in the characters and the story.

It's all just too much of a BIG story and, at the same time, not enough of a story to really hold our interest. The actors were okay, though sometimes I felt like Theron was just reading her lines. Townsend, for the most part fits the role, but other times he comes across as too modern for the time period.

There are a few twists and turns here that keep the viewer interested, but overall, its not as good as it could have been. A shorter version, about one of the many story lines could make this a really, really good film.

I am a huge fan of WWII era films. I enjoy seeing how costumes and persona's are played out in the film. When i read the synopsis of this particular one, i thought, 'this could be a good one'. But unfortunately, I was disappointed. Theron and Townsend seem as if they are worried too much of showing their real life emotions for each other throughout the film. The whole thing hardly ever connects well. I do like the fact that they spoke the original languages, I appreciate that concept and also, the costume designer did a wonderful job. Nevertheless, Charlize and Stewart look bored through the whole thing, and she also seems as if she is reading her lines from the palm of her hand. The emotions just AREN'T convincing enough.

Given the wonderful quality of Head In The Clouds I don't know how I never heard of it until I stumbled over it on the Netflix web page and decided to rent it.

This is a major movie. It is an emotionally powerful movie. It has a huge scope both in time and space, historical accuracy, an excellent, and at times complex, script, outstanding performances by all concerned, great direction, and superb cinematography. I loved it and I cried at the end.

Charlize Theron was fantastic as Gilda. I have known people such as the character she played and she had it just right. With her body language she told us she was rich, talented, cynical, very loyal to her real friends, and in the end so very brave. Her voice is such that sometimes I think she is channeling Theresa Russell.

Stuart Townsend played his part of a quiet underclass Belfast Irishman, Guy, perfectly. Some reviewers were disappointed that his performance wasn't stronger. Hey, Rambo wouldn't have survived long as a British operative in Nazi occupied Paris. Townsend triumphs in subtlety and his character narrates some of the story.

Penelope Cruz was perfect as Mia, who had been physically injured by Fascists in Spain when they came to take her brother away, presumably to be executed given that the time immediately preceded the Spanish Civil War of the 1930's.

Thomas Kretschmann is brilliant as Frans Bietrich, the personification of Nazi evil: educated, urbane, thoughtful, and completely ruthless when torturing and murdering.

The repartee among the three friends, Gilda, Mia, and Guy, during the prewar period is very realistic. I've participated in similar conversations. There are several back referencing jokes. You have to pay attention. In addition we see the best presentation of a three way sexual relationship I've ever seen on film. These three people love each other and this is beautifully communicated.

World War II was a cataclysm that shook the world. The free peoples were fighting for the life of their civilizations against what was one of the most evil regimes to ever exist through all of history, the German Third Reich. The story starts well before WWII and we are shown the good life of a wealthy young woman and her friends in Paris. We are then taken to the Spanish Civil War and on into WWII. The things portrayed in this movie HAPPENED although maybe not exactly as in the story shown; however, similar things are well documented as occurring during WWII. If one doesn't have much knowledge of the history of that period the story may seem far fetched. It isn't. For all I know the story is factual even though there is the usual statement at the end about it all being fiction.

More about Kretschmann: Toward the end of the movie there is a scene in which his character is supervising the torture of a young woman member of the French Resistance. The torturers are using the near drowning method, waterboarding is what the CIA calls it today. He is seated with his back to his underlings and gives the order to immerse her, then plays with a loose thread on his shirt cuff while timing the immersion. He fiddles with his cuff links. He is clearly bored. Just another day at the office. When he decides she isn't going to talk he gives the order to put her under and and never orders her to be raised. I have heard it phrased: "The banality of evil". Kretschmann and Duigan bring it off to perfection.

This is a must see movie. It will stick with you. Parts of it will come back to haunt you for at least several days. As I said before, this is powerful stuff.

Writer and Director John Duigan has added to his cinematic stature with this recent film about the interrelated responses of three countries - England, France, Spain - to the early phases of WW II and in doing so gives some inadvertent insight into how the continent was so endangered by the little known bad boy Hitler in the years leading up to the horror of a second World War.

The title seems very appropriate - taken from the quip of 'Head in the clouds, Feet on the ground' - as the lead character Gilda (a radiantly beautiful Charlize Theron) seems to float above all of the reality of warring struggles in 1933, focusing her life on paramours, expensive clothes, and 'dangerous liaisons' with a varied assortment of men, all the while keeping a firm stance on needs of her strangely disjointed life. Indeed, the opening of the film finds Gilda in need of shelter from a night's fling with a Cambridge lover and she knocks on the door of a poor struggling Irish student Guy (Stuart Townsend), thus beginning a lasting affair that coasts through the entire story.

Guy eventually follows Gilda to Paris where she is a popular photographer living with her gallerist, but also living with her lesbian lover Mia (Penelope Cruz). Gilda, Guy, and Mia become a triptych and it is only the impact of the rise of fascism in Spain (Mia's home) that separates the ménage a trois: idealistic Guy and compassionate Mia are off to fight Franco while Gilda is left behind to admit to the encroaching threat of Nazis in France and enter into her own version of involvement.

How these three weather the war and resolve their varied degrees of complicity provides the film's finale. The cast is strong, the settings are gorgeous (in all three countries) as captured by cinematographer Paul Sarossy, and the musical score by Terry Frewer introduces a potential talent for film composition (while borrowing heavily from French cabaret songs, symphonic music by Edward Elgar, and pieces of Francis Poulenc). But the overall reason for enjoying this rather long film is the interplay of Theron, Townsend and Cruz in a variety of richly sensuous vignettes. Well worth watching. Grady Harp