जब टूर डी फ्रांस के दौरान उसके पोते का अपहरण कर लिया जाता है, तो मैडम सूजा और उसके प्यारे पोच ब्रूनो बेलेविले सिस्टर्स के साथ मिलकर - फ्रेड एस्टायर के दिनों से एक वृद्ध गीत और नृत्य टीम - उस... सभी पढ़ेंजब टूर डी फ्रांस के दौरान उसके पोते का अपहरण कर लिया जाता है, तो मैडम सूजा और उसके प्यारे पोच ब्रूनो बेलेविले सिस्टर्स के साथ मिलकर - फ्रेड एस्टायर के दिनों से एक वृद्ध गीत और नृत्य टीम - उसे बचाने के लिए।जब टूर डी फ्रांस के दौरान उसके पोते का अपहरण कर लिया जाता है, तो मैडम सूजा और उसके प्यारे पोच ब्रूनो बेलेविले सिस्टर्स के साथ मिलकर - फ्रेड एस्टायर के दिनों से एक वृद्ध गीत और नृत्य टीम - उसे बचाने के लिए।
- 2 ऑस्कर के लिए नामांकित
- 20 जीत और कुल 41 नामांकन
- Triplette
- (वॉइस)
- Triplette
- (वॉइस)
- …
- Triplette
- (वॉइस)
- …
- Triplette
- (वॉइस)
- …
- Additional voice
- (वॉइस)
- (as Jeron Dewulf)
- Additional voice
- (वॉइस)
फ़ीचर्ड समीक्षाएं
As the film reached into the last act, I then realized two things- 1) this is one of those films, like Un Chien Andalou and The Wall (the great Gerald Scarfe's influence was one that I guessed, though there's probably more I didn't catch on), that won't appeal to everyone. Those expecting a cute French animated film can expect that, however a movie-goer needs to have an open mind to the material, and that the term "cute" would be taken for granted while being immersed in this film. 2) since the film is made like an original, without much compromise to where the story has to be headed or which characters do and say what, at the least The Triplets of Belleville works superbly to create an overwhelming state of mind for the viewer. Personally, I get exhilarated watching a movie where I don't even WANT to expect where the story is headed. Throughout most of the 80 minutes I felt an un-canny faith in the filmmakers that their oddball, free-wheeling visions wouldn't go up in smoke. And by the end I left wanting more for some reason or another. Like I said, some might be turned sour by the execution of the material, yet for others the fantasy-like nature of The Triplets of Belleville should make for an interesting night-out. For one thing, you won't get those frogs out of your mind very easily. A+
Because the film employs almost no dialogue or voice-over narration, it is left mainly to the visuals to convey the storyline. For this purpose, Chomet relies almost exclusively on facial expressions and body language to spell out the major plot points. The film's unique look arises from its gross distortion of shape, line and form, particularly in regards to the human figures. The thin characters are spindly and angular almost to grotesqueness, while those who are overweight run to a corpulence of awe-inspiring proportions. And the Mafia figures bring new meaning to the term 'broad-shouldered.' But it isn't just the humans. The thin, needle-like skyscrapers rise to impossible heights, while an ocean liner's hull is stretched vertically to such an extent that we expect the ship to capsize from its preposterously un-seaworthy design at any moment.
The film is filled with moments of great imagination, as when it visualizes the black-and-white dreams of an aging dog, or when it turns the tables and shows us three cartoon characters laughing it up while watching some 'live action' characters on TV indulging in inane slapstick madness.
Like all fine animated films, 'The Triplets of Belleville' creates its own unique world, filled with images and sights we've never quite seen before. By eliminating speech as a means of storytelling, the filmmaker heightens the surrealistic tone of what is being shown on screen.
'The Triplets of Bellville' isn't a great film, but its uniqueness of vision and form makes it one well worth watching.
At the same time, it can't be denied that this film is distinctly European in style, and likely to bore people who expect an animated film to be bright, colorful, loud, and not particularly subtle or complex. Its wealth of detail is staggering, and can't be taken in through one cursory viewing. The little quirks of characterization and character design are numerous, but all the easier to discern because it's cinema in the classical sense of being primarily a visual medium, and there's not a lot of yammering for the sake of plot exposition or as a shortcut to characterization. Those are meant to be gained through observation, and what a feast for the eyes it is. This is another example of a film at which simple people with simple tastes lob the tired old warhorse criticism "pretentious." There's nothing wrong or shameful in having simple tastes, bit I wish they wouldn't feel thus obligated to publicly pee all over any work of art more subtle than a Roger Rabbit cartoon.
I think special mention should be made of the soundtrack, which is a rich brew of sound layered on sound, but with a decidedly delicate touch. Note the sound effects in the climactic car chase through the streets of Belleville. Most filmmakers would be temped to goose up the excitement and chaos of the scene with loud, piercing sounds of crashing, screeching tires, gunshots, etc. While these noises are present, they are in fact applied very lightly and delicately, sounding almost like the collision of toy cars and the shooting of toy guns, which lends the scene a surreal, otherworldly quality that the more conventional choice of loud, overbearing sound effects wouldn't yield. It's been remarked here that the combination of minimalist dialog, strange characters, and baroquely complex settings are reminiscent of Jeunet, and I think that's the most apt comparison, particularly his earlier style as in "Delicatessen."
The first scene is of particular interest in that it is in a different style from the rest of the film, designed to look like old black and white animation from the 1930s. One of the conventions of animated shorts in that era was to include bizarre caricatures of celebrities. Now I recognized Django Reinhardt, Josephine Baker, and Fred Astair, but who was the orchestra conductor supposed to be? He has very distinctive features which lead me to believe he represents some specific real person, but nobody comes to mind. Maybe he's someone better known to a French audience? I'd be very interested to know.
Some people seem to think there is a strong anti-American bias to this film. Does it poke fun at North-Americans? Sure it does, but it also makes fun of the French (note the huge noses, receding chins, and tiny little mustaches, along with the Triplets' penchant for regarding whatever slimy thing they can yank out of the swamp as a succulent delicacy). Admittedly this French caricaturing is not quite as barbed as the swipes at American culture. But come on, we're big boys. We can take it! Just gnaw on a few freedom fries and suck it up already. Actually, this film sort of sums up the history of France's attitudes toward American culture over the last 70 years. They adored us in the 1930s, but the honeymoon has been over for a while.
One more detail. To an earlier commentator who found it hilarious that in the song "Belleville Rendezvous" the Triplets sing the phrase "ca-ca," they are in fact singing "can can" ("voodoo, can-can"). The characteristic French pronunciation "cahn-cahn" just makes it sound a lot like "ca-ca."
Madame Souza recognizes that something is missing from Champion's life. His parents are, clearly, gone. All he has left from them is a picture of the pair of them on a bicycle. As she silently pieces together what Champion needs to be happy, she and he discover a new life as participants in the Tour de France - he as a competitor and her as his coach and trainer.
They live a life of quiet, simple joys until he is kidnapped, an event that leads to a trip to Belleville for all three. This fictional city will prove oddly familiar to most viewers. Here, Madame Souza is befriended by the titular characters - I will leave the "book report" style commenting here.
There are so many delights in this picture, but I am going to focus on my favorite character, Bruno the dog. I don't think I have ever seen a movie capture a real dog as well as this one does. We see him from a puppy, learn the event that leads him to hate trains, feel anxious for him when he paws at his bowl while the silly humans finish their own dinners, and fear for him when his canine instincts lead him to places of danger.
Throughout this all, Bruno is gloriously canine. He dreams of the things that are important to him, he sees the world as smells and images. He is awesome. Or, perhaps, she is awesome. Bruno is a male name, but many have suggested he is a she.
Anyhow, the other characters are great fun as well, but my heart belongs to this big fat dog. Even if I hadn't loved the rest of the movie (I did), I would recomend it for Bruno alone.
क्या आपको पता है
- ट्रिवियाAmong the anti-Disney riffs in the film are a Mickey-shaped turd in a toilet, and a wallet-picture of a character in Disneyland with a lollipop that says SUCKER.
- गूफ़When the two waiters are running to the Mafia in the restaurant, the left-hand waiter's hair color is black; in the next take, his hair is gray.
- भाव
[repeated lines]
The Triplets of Belleville: Swinging Belleville rendez-vous / Marathon dancing, doop-de-doo / Voodoo, can-can aren't taboo / The world is strange in rendez-vous
- क्रेज़ी क्रेडिटAfter the credits have rolled we see the Pedalo rent guy waiting on the beach, looking out to sea and checking his wrist watch.
- कनेक्शनFeatured in Troldspejlet: एपिसोड #29.4 (2003)
टॉप पसंद
- How long is The Triplets of Belleville?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइट
- भाषाएं
- इस रूप में भी जाना जाता है
- The Triplets of Belleville
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $95,00,000(अनुमानित)
- US और कनाडा में सकल
- $70,07,149
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $1,08,080
- 30 नव॰ 2003
- दुनिया भर में सकल
- $1,47,76,775
- चलने की अवधि
- 1 घं 20 मि(80 min)
- रंग
- ध्वनि मिश्रण
- पक्ष अनुपात
- 1.66 : 1