उपयोगकर्ता समीक्षाएं

There are many positive things about this film that for me anyway make any negatives irrelevant. I know it isn't 100% accurate but the acting of all the cast is quite superb in my opinion.

Sophie Marceau as Louise stands out in this film, her acting is superb and although she is clearly a beautiful woman she does not seem to mind looking less than glamorous throughout. Her range or emotion was truly gripping. Julien Boisselier as her brother Pierre is a tortured soul who has a coldness about him that was probably necessary to carry out the tasks they had to. Julie Depardieu as Jeanne, Maya Sansa as Maria,are all good as is the stunning Marie Gillain, but Déborah François as Gaëlle,did an amazing job showing her characters naiveté and youth and some really strong and convincing emotions especially when captured. Colonel Heindrich is played by Moritz Bleibtreu who has had some criticism on here but in my opinion he carried it off perfectly. Many SS were ruthless and clinical and yet at the same time gentlemen and family men. A lot of this film is unrealistic and no doubt done for dramatic effect but the more you watch the more you get drawn in. I would highly recommend this film and would watch it again I am sure.

1944. An undercover agent working for the Allies, holding vital information about the future D-Day landings, is trapped in a French hospital, behind enemy lines. The agent is potentially only hours away from being discovered by the SS, and so the British Strategic Operations Executive put together a team of French speaking agents rescue him. Except for the commanding officer, the team are all women...

Oh, yes. That sounded like just the ticket. Definitely a bit of a romp. Something along the lines of a 1940's set "Mission: Impossible". Stunts, action sequences, beautiful women with serious weaponry using their womanly wiles to run rings around evil, horny Nazis.

Forget it. "Les Femmes de l'ombre" was not that film. The girls were beautiful, there was some de rigeur European nudity and also plenty of firepower and action, but "Les Femmes de l'ombre" was a much more real, bleak and thoughtful film than I expected. Bloody, nasty and sadistic, not to mention dangerous with some toe curling scenes of torture. Mix in with that meditations on fear, betrayal and ultimate self sacrifice.

Perhaps "Les Femmes de l'ombre" was uneven, but it was also a really interesting take on that old chestnut: The war movie about a team sent behind enemy lines on a vital mission. I doubt that Tarantino will make a more memorable film when and if he finally finishes "Inglorious Bastards".

I saw this film at this years Seattle International Film Festival, and other than the bizarre choice of "Female Agents" as the English title, I loved it. I think a more direct translation of the title as "Women of the Shadows" or some such would have been much more evocative.

The film itself is a gritty WWII espionage drama in the classic mold, with the team of misfits being assembled to do the job that only they can do. Only in this case, they are women. The film does not shrink from the grittiness and danger of the mission, especially when it extends to several gutwrenching interrogation scenes. There is no chivalry in this war. Moritz Bleibtreu is especially effective as an SS Colonel who believes himself to be a decent man, doing only what he must, yet in reality committing atrocity after atrocity.

Special effects are well used to give us occupied Paris in great detail, and the whole look of the film is quite stylish. A recommended film!

This is the story of four girls recruited in the latter part of WWII, who are dropped into occupied France, and reek havok to rescue a captured British spy, caught in France posing as a geologist. It is often bloody and gritty, but totally convincing, and never boring. I read a previous comment that described it as a "Made for TV movie". Well all i can say is, they certainly don't make war movies with full frontal nudity and torture scenes, and show them on my TV. The fact that this is the story of women doing what we would generally have expected only men did during the war, is what what I found so interesting. I'll never chain my wife to the cooker again. An excellent, entertaining, well made film. The acting is totally convincing, particularly Sophie Marceau, who plays the lead role. 7.5/10

Female Agents is one of the very few war films that concentrates on women as soldiers rather than wives waiting for returning men.

Based around the SOE operations towards the end of WWII this is a very well-made and well thought out offering.

Very well shot and lit, with good detailing in both set and costume, this is really a character piece as well as an action film; Sofie Marceau shines as the level-headed leader determined to carry out her mission and the rest of the cast are up to her standard.

It doesn't have a Hallmark moment in it, but chooses bleakness and some harrowing (But not horrific) scenes that mean it remains a good tense war film.

Recommended.

I started watching this movie rather sceptical, because I was expecting a french patriotism flick, since french history usually gives you the impression that the whole of France was in "La Resistance". But I have to say, that I was surprised about the interpretation of occupied France. The story is well written, the actors fit the roles mostly (I love Moritz Bleibtreu but an SS officer doesn't really suit him in my opinion) and they do a good job. Overall a good thriller set in the Third Reich. The true core of the story is of course really small. The events presented in the movie didn't take place. But its good entertainment.

In 1944, in London, Lieutenant Pierre Desfontaines (Julien Boisselier) assigns his sister Louise Desfontaines (Sophie Marceau) to convince three other women to form a five-woman task force under his command to rescue a British geologist from a German hospital in the countryside of France. The geologist was assigned by Colonel Maurice Buckmaster (Colin David Reese) in a reconnaissance mission of the soil of the beaches at Normandy for the D-Day and had been captured by the Germans.

Louise and Pierre force the whore Jeanne Faussier (Julie Depardieu) that is imprisoned for murdering her pimp; the explosives expert Gaëlle Lemenech (Déborah François) that misses action; and the former dancer and fiancé of Colonel Karl Heindrich (Moritz Bleibtreu), Suzy Desprez (Marie Gillain) using blackmail and unethical methods to fly to France and join the Italian agent Maria Luzzato (Maya Sansa) in the assignment.

They are well-succeeded but when they deliver the geologist to the British airplane, Pierre betrays the group and does not allow the women to fly back to London. He forces them to travel to Paris to kill Colonel Heindrich that suspects that the landing of the allied forces will be through the Normandy, in a dangerous mission.

"Les Femmes de l'Ombre" is a sort of French Inglorious "Female" Bastards. The plot recalls the 1978 Italian film "Quel Maledetto Treno Blindato" a.k.a. "Inglorious Bastards", with three rogue women assigned to a very dangerous mission in occupied France.

The plot is absurd but entertains, with the women having one-day training and parachuting in the night and attacking a German hospital full of soldiers in a well-synchronized operation. The characters are not well-developed and inconsistent, and Louise is a nurse and a sniper; Jeanne is a selfish whore capable to self-sacrifice for a cause; Liliane hates Heindrich, but when she sees him, she changes; Gaëlle is expert in explosives and absolutely unsuitable for the second mission. The greatest problem in this film is the reference that it is based on a true story. My vote is six.

Title (Brazil): "Contratadas para Matar" ("Hired to Kill")

Even though a little bit melodramatic in spots, it is well directed and incredibly well acted. Likeable and relatable characters make this an experience well worth it. Will recommend

A really good war movie with great cast, good acting and tense plot. The fact that it was based on real events makes it all that much better.

A good watch!

Whereas a lot of films and television over the years has made war seem a very one-sided affair and concentrated on things from a very male point of view, very few have dealt with the roles that women had played. Set during world war II Female Agents tell of one such group of agents on a mission for the British government behind enemy lines in France in 1944. The mission, to rescue a British geologist who was caught on the beaches of Normandy, the information he has is crucial to the success of the D-day landings. Also there is an SS colonel who is intent on cracking the geologists riddle and thwarting the allied attacks who must be killed no matter what the cost. Assembling the group a brother and sister team chose girls because of their backgrounds and skills and after a one day refresher course in field skills they are off. From this point on the film thanks to the story (based in truth) the acting (universally brilliant) and the cinematography (breathtaking) grips like a vice and doesn't let up until the credits roll. Challenging and at times brutal it shows in very real terms what people went through and what they sacrificed to bring down the evil Nazi regime. It shows us a time that although we don't want to remember we should never forget and this film is a fine example of the heroic work done by individuals that eventually secured our freedom as a whole. A must see movie for so many reasons.

First, let me say that I was fully satisfied by this Amazon story.

It takes place during WW 2, in France, where four women are recruited by the head staff of the free french forces to escape a member of the Resistance prisoner of the Gestapo.

It's an action movie, a heart gripping one.

One more Amazone film, as was Set it Off, Girls on the Loose, Five Gates to Hell, or even A Gun for Jennifer - in a totally different context...I forget many more.

Here, there is no question of lesbianism, but only patriotism, sacrifice.

We can nevertheless note many incoherences in this story, but its good.

The subway scene is outstanding, and I wonder how Brian De Palma would have shot this one, considering his editing virtuosity.

"In 1940 Winston Churchill created the special operations executive SOE - One section to oversee the France operations. In 1941 Col Morris Buckmaster was appointed as its head And then in 1944 this section suffered a heavy human loss because of D-day" 4 women with different backgrounds.. they are not the nurses working in a temporary battlefield hospitals or typists seating behind the desks or secretaries running around on the marble floors... this is a story of bravery, courage and most importantly guts...A plight of women behind enemy lines... Reminded me of Laxmi Sahgal of INA...A somewhat fast forward plot but nimbly paced. Felt few gaps in characterizations but Well-fitted performances portrays the emotions vividly... Although predictable story but few overtones in the screenplay could have added little jamais Vu to the watching experience.. but the photography, location, the flavor of WWII are superlative....based on a true story.. a great watch..

This is a very exciting and effective film about female espionage agents of the British S.O.E. (Special Operations Executive) during World War II. It is ironical that it is the French, not the British, who made this film, in which only a few sentences of English are spoken. The English subtitles are really too rapid, I must point out. Apart from a few scenes set in England, the film effectively all takes place in Nazi Occupied France under the revolting Vichy Regime in 1944, where all the dangerous missions in the story take place. As the film proceeds, we realize that the underlying threat is that the secrets of the D-Day Normandy landings are in danger of being betrayed, thus destroying their surprise value and enabling the Nazis to win the War. So the stakes could not be higher. According to titles shown at the end of the film, this story is in many respects true, and the lead character played with tremendous, bitter panache by Sophie Marceau only died as recently as 2004 at the age of 98! As she was a French woman, though working as an agent for the SOE (and her brother worked for De Gaulle's Free French in London), that must explain why her story was known in France, and why it was French producers who decided to film it. The story as filmed contains countless inaccuracies of procedure and plot which could never really have happened, and some details are ridiculous (a sister and brother sent on the same mission together!?). So the story has been greatly hyped-up to 'Hollywoodize' it, by the French Hollywood, which we might perhaps call by the name of Tuileriewood-en-Seine, or Tile-Town as opposed to Tinsel-Town ('a night out on the tiles' being a good description for some Paris evenings). The film starts rather slowly, and one is not certain that it is going to work at first. But when it gets into its stride, it is gripping and coherent. There are many grisly scenes of torture by the Gestapo, which take a strong stomach, and seeing Nazis savagely and maniacally beating up women and nearly drowning them in water tanks, even pulling out their finger nails (this is done to the delicately beautiful actress Deborah Francois, who appears as fragile as the petals of a fluttering chamomile flower on a windy day), is more than merely upsetting. However, it was obviously decided by the producers that these pretty young women were to be treated with as much grit as men, both in their actions and in the depiction of their fates. It is no bad thing to remind viewers of how the Nazis behaved, and that they really did these things. There are some detailed touches which add to the horror of it all: a Gestapo woman clerk sits impassively at a small wooden table making notes, wholly unmoved by the agonized shrieks and screams of the women being tortured in front of her. As for the Nazi SS colonel supervising all of this and trying to get the information out of them, he could not be more bored and oblivious to the suffering and the screams, which to him are merely tedious. To the Nazis, torturing human beings was no different from stepping on ants. If it accomplishes nothing else, perhaps this film will make a few young people think for a moment about a War which to them is now 'long ago and far away', and why should they be interested. Just seeing a screen title informing us that the Gestapo's Paris Headquarters was in Avenue Foch is enough to precipitate a mild attack of hysteria. That is where all the billionaires now live in luxury. I have been in a couple of their grand houses, and all I can say is: 'Nom de Dieu!' And to think that it was in those surroundings, where the super-rich now besport themselves with their vintage Cristal champagne (I must admit it is delicious, but no one really needs it), that the Gestapo pulled out the finger nails of beautiful girls in their early twenties and thought nothing of it, merely finding their screams of pain a bore! Do see this film, if only to be horrified and appalled, but also to admire the courage of the women, not only the men, who gave their lives to defeat the greatest evil that befell a much-accursed earth during the 20th century, the regime of the monstrous instruments of Evil who dared to call themselves a Master Race.

At the time of Female Agent's production, and as a sentiment that has in all fairness hung around through to around about the present, the French were/are probably making the best films of any nation collectively in the world. With this in mind, we do enjoy a good French film; even more so if it's driven by women, because that can be good fun and since a good Second World War film makes for a fair old crack now and again, what's the problem with sitting down for a cut-and-thrust, causality driven World War 2 resistance picture about varying parties darting across occupied Europe? Female Agents ticks all of the above boxes; a pacey, highly enjoyable little yarn which tells a good story in an unabashed fashion whilst shedding light on the tales of those history has, to a fair old few, since forgotten: the woman out of the factory, and on the front-line of war.

The film begins with a Bond-inspired pre-credits action sequence; Sophie Marceau, she of once of a Bond role, plays Louise Desfontaines: a woman who's seemingly at the top of her warmongering game in her sniping of an array of German soldiers on a cold, bleak evening illuminated only by that of the light brought about by the crude lamps dotted around this docklands area and the harsh headlamps to that of an array of German vehicles in and around the locale. Working with a few others, and under a high pressure situation as things spiral out of control inducing a gun fight, she manages to resurrect the situation and escape with her life amidst an unholy mess that should have been a mission executed more smoothly. It's 1944, and our Louise is placed at the forefront of a larger, more important mission that she will lead in the field, for which she will require the recruitment of certain others. The crew are a motley, disparate lot; a faction of women of varying ages, backgrounds and views on what constitutes a way of life together for this mission based in northern France. These include the likes of Maria (Sansa), a nurse; Suzy (Gillain), a woman formerly a stage strip tease performer; an explosives expert in Gaëlle (François) and that of Jeanne (Depardieu), who's dragged from prison and is there in the first place on some serious sanctions - she's killed, and she'll be asked to kill again.

Once they are rounded up and taken to a British airfield additionally populated by that of the men of the American Air Force, a scene that will no doubt go down like a lead balloon stateside plays out in which a bomber crew make light of the women by wolf whistling as they strut past. Yes, it's in good fun but it is first and foremost director Jean-Paul Salomé highlighting the threat of both objectification and transgression these women face in a film of this nature; here addressing it and, by making us aware of such an item, steadily deviating from what would otherwise be an ill-minded approach to dealing with these women driving a film that will come to be rich in action and the process of placing these women and their bodies on the front-line of warfare. The women have a foil, a Nazi colonel whom is ahead of the game; a man whom manages to make frighteningly accurate predictions on where the imminent Normandy landings will take place. It is in fact a proposal put to an array of German higher-ups in a briefing room; a proposal which is promptly mocked by those within and therefore dismissed. The man is Karl Heindrich (Bleibtreu), and in spite of these disagreements, we sense is unafraid to make swift decisions and as a result of his predictions, must have a fair degree of intuition.

Desfontaines and her team's mission goes well, a job in a quaint manor house occupied by the Germans adhering to the Where Eagles Dare ideology of seducing and sneaking your way in but opting to shoot one's way out – blowing the odd thing up in the process not necessarily harming proceedings. Post job, the game changes; and while Salomé's film has been accused of borrowing an awful lot from various war films, The Dirty Dozen in particular, its twist after the opening act has it mostly feel like something in the region of Peckinpah's The Getaway or Frankenheimer's French-set chase thriller Ronin. There are even splashes of Infernal Affairs; the film mutating into a film detailing a Frenchmen in league with the Nazi's discovered by the girls, and consequently forced by the girls, into working with the titular agents as one of their own are simultaneously caught and tortured by the Germans into revealing secrets which could ruin everything.

The things about Female Agents we enjoy most lie with its director's ability to get on with proceedings; we enjoy the notion of two distinct factions, each with enough of a force behind them, barging through most of occupied Europe desiring their prize: the general wrongfulness or evilness of the Nazi war-machine under Heindrich chasing that of the empowered women looking to get away, although hang around long enough to save a few of their own, subverting that of, and continuing the sense of this being a crime film-come-'fallout-from-a-heist' movie, Mann's male dominated Heat or De Palma's The Untouchables as a film covering characters trapped in oneupmanship. The film is sharp but tough to watch on the occasions it needs to be; thrilling and exciting, without ever exploiting the warfare as action, when it needs to be and makes for a really decent resistance movie in a recent canon of films that are as such.

It's 1944 London. Louise Desfontaines (Sophie Marceau) and brother Pierre Desfontaines (Julien Boisselier) are part of Special Operations Executive tasked with extracting a British geologist who is testing the beaches of Normandy. They recruit Jeanne Faussier (Julie Depardieu), an imprisoned whore who killed her pimp. They threaten Suzy Desprez (Marie Gillain) who is hiding her past as a dancer and mistress to a Nazi. Gaëlle Lemenech (Déborah François) is a chemical explosive expert bored with being a secretary. Maria Luzzato (Maya Sansa) is an Italian Jewish radio operator. The group go into occupied France to search for the captured geologist. Later, Pierre Desfontaines forces an almost suicidal mission on the women to go to Paris and kill SS Colonel Heindrich who may know too much about Normandy.

I like the recruiting and the various female characters. However, the mission strikes me as being very wrong-headed. If they spend so much effort to get the geologist, then it would be essentially the same as a confirmation that Normandy is important. They may as well shine a neon sign on the guy that he's a secret agent. The only realistic plan is to confirm that the geologist is held at the hospital and then bomb the building to smithereens. That way the geologist is killed and it wouldn't be obvious. It would also kill his interrogators. This whole movie feels like a badly conceived Bond movie.

Films abound regarding arguably the greatest tragedy of mankind--World War II--and so many focus on the heroic sacrifices of men. What makes "Les Femmes de L'ombre" shine is that it features the typically unsung contributors to the war effort--the heroines who shared the same audacity and love of country and liberty as the men.

Aside from its cast of four gorgeous French women (and an equally delightful Italian), it features a simple, but clever agenda--the actions of a cell of saboteurs and assassins working for the British Special Operations Executive (SOE) in occupied France. There are no fantastic stories here--no plots to kill Hitler or to sabotage atomic research. Instead, the story narrows its focus to the extraordinary efforts to keep secret the particulars of the inevitable invasion of the European continent by the Allies. This is no small order, and there is much suffering in keeping what must remain secret.

The emotions in the film are well played by the actors and actresses. During the few brutal, but necessary scenes, the cries of anguish and pain are real and powerfully emotive. Louise (Sophie Marceau) is convincing as a vengeful widow who works alongside her dedicated brother, Pierre (Julien Boisselier). Jeanne (Julie Depardieu, daughter of the famous French actor Gerard Depardieu) plays a callous whore motivated at first by remission of her prison sentence, then by money, then by revenge. Gaëlle (Déborah François) portrays the naïve, religious girl who is seemingly the only true French patriot of the group. Maria (Maya Sansa) is a driven, Italian Jew whose family met its fate in a concentration camp. The most reluctant member is the lovely Suzy (Marie Gillain), whose questionable past allied her with the most unlikely of characters, Colonel Heindrich (Moritz Bleibtreu) of the Wehrmacht and the film's major antagonist. Unexpected support comes from local profiteer, Eddy (Vincent Rottiers), whose connection to Colonel Heindrich enables the saboteurs to get close to him to fulfill their mission.

If there's a noticeable weakness to the film, it is Bleibtreu cast as a Nazi colonel. He's neither evil nor intimidating. He lacks the sinister persona of Colonel Landa (Christoph Waltz) of "Inglourious Basterds," a decidedly less serious film of the genre. Where Colonel Heindrich should have been clever and cruel, his performance instead is wooden and uninspiring. Bleibtreu may be a little out of his realm in a role so serious.

Les Femmes de L'ombre is a solid contribution to the WWII films of the last decade. I hope it inspires more stories of the Resistance to be told with attention to the incredible sacrifices and dedication of normal people confronted with the horrors of Nazism.

A bit like a female-cast, French-with-subtitles version of The Dirty Dozen, with just a smidgen of a James Bond flick. Saving Private Ryan or Band of Brothers it ain't, but it's a good WW II story. A story about brave women, and only one feminist line in it ("You would never have done this to men," in a situation in which, the guy would certainly have done the same to men.

If this movie were a "10" as a few reviewers have rated it then it would be in a theather near you right now. But that wont happen. Its not that good.

And a shame it is too because there is some real talent and great production values apparent in this film but it falls flat on storyline and plot.

Some one went to a great deal of time and effort and expense to make this film but the final product leaves you with the feeling you just watched a "fair" made for TV Drmna.

Its not a perfect movie but will probably entertain a small audience.

I'm a bit surprised by how briskly paced this is, and how direct the storytelling. The movie immediately launches into its plot, dashes through exposition, and keeps steadily moving, to the point of brusque forthrightness and leaping past nuance. One might reasonably be concerned, given the common and unfortunate trend of films that star an ensemble of women, that the writing will be characterized by tropes, and moreover a lighter tone that doesn't treat the material with all due seriousness. Well, there are definitely some tropes on hand, particularly when it comes to building the team, the dynamics between the members, and rounding out the threads for individual characters. But I'm happy to say that whatever else is true of 'Les femmes de l'ombre,' it doesn't remotely shy away from violence, nor emphatically darker vibes commensurate with the horribleness of the Nazis and the gravity of the scenario. I'm certainly not saying that it's perfect, but overall I think this is maybe even a bit better than I expected when I first sat to watch.

In the wide strokes one can surely draw parallels between this picture and other wartime thrillers. A plan is set, and executed, and that's when everything goes haywire such that our heroes have to act on the fly; there will be revelations about characters, whether for each other or for the audience, and invariably some will live while others die. I think it's unfortunate in this instance that filmmaker Jean-Paul Salomé and co-writer Laurent Vachaud partly zeroed in on the idea for their narrative of women having "delicate sensibilities" ill-suited for war and action - by Jove, the entire history of civilization proves otherwise, and rightly or wrongly it comes across that Salomé and Vachaud are simply sexist. Between the writing and direction there are also instances when an inclusion feels like a choice of a "cool cinematic moment" rather than an earnest, meaningful reflection of the characters, let alone historical context (as one prime example, consider the last time we see Gaëlle). On the other hand, in other regards the screenplay is quite shrewd: in the latter half in particular the plot and scene writing get extra busy and messy (not helped by the swift pacing), but this actually seems rather on-point for the urgency of the tale, and its nastiness; war is never neat and clean, and World War II least of all. And by and large the story is smart and compelling, even if it's imperfect in discrete ways, and Salomé's direction is broadly capable.

To the credit of all involved 'Les femmes de l'ombre' carries some real thrills with it as things fall apart, and it's otherwise very well made in every capacity one would hope. Stunts, effects, and action sequences are no joke, and are as robust as in any comparable fare. The production design, filming locations, costume design, and hair and makeup are plainly outstanding; the cinematography and editing demonstrate a keen eye. Though the strength of the writing is variable, at its best it's sharp and piercing - and so is the acting. In some measure the performances are informed by that same straightforward tack that defines the storytelling generally, yet the very least that can be said is that the actors are pulling no punches, Sophie Marceau least of all. Julie Depardieu, Marie Gillain, Déborah Francois, Maya Sansa, and all others on hand illustrate fine skills suiting the saga, as they've all proven elsewhere time and again. Really, more than not this is quite well done, and I'd actually like to say I enjoyed it more than I do. What I think it comes down to for me is that Salomé and Vachaud needed to rein in their impulses when it came to employing tropes (including even the last few minutes), or opting for bits that would look neat but sacrifice some verisimilitude, and instead intensify the violence and excitement the feature has to offer. Had the writing and direction spent more time latching onto the dire import and danger, and actualizing the stakes for the each character, the whole would have only benefited as it became more captivating of its own accord.

'Les femmes de l'ombre' is good, by all means, and I think it's worth watching. It perhaps just isn't as good as it could have been, and it isn't necessarily something one needs to go out of their way to see. Still, it's entertaining, and I'm glad that I took the time to check it out even if I see where it could have been improved. This isn't an absolute must-see, but it's a swell watch for something relatively modest in terms of viewer engagement, and deserves a look if you happen to come across it.