Illusions perdues

Lost Illusions is a movie adaptation of the classic novel by Honoré de Balzac. The movie follows the young poet Lucien de Rubempré, who naively leaves his hometown in pursuit of becoming an author. I haven't read the novel, but I understand the movie does an excellent job of staying true to the source material. Unfortunately, the constant narration can be quite tedious. It's as if the viewer isn't trusted to understand what's going on without being spoon-fed every detail.

The acting is solid all around, but the standout performance is by Benjamin Voisinas as Lucien. He perfectly captures the naïveté and arrogance of the character. The movie is also visually stunning, with opulent costumes and sets that transport the viewer to 19th century France. The dialogue is fast-paced and witty, but it can be difficult to follow at times. There are some very funny moments, but the movie is a tragedy more than a comedy. It's a long movie, but it's worth watching if you're a fan of period dramas.

Even though the movie is set in the 1800s, it has a lot of relevance to today. The portrayal of journalism and the literary world is just as relevant now as it was then. Fake news was a problem back then and the movie is a reminder that some things never change.

Lost Illusions is a well-made movie and worth seeing if you're a fan of the novel or period dramas in general. I'd give Lost Illusions a higher score if the narration weren't so heavy-handed.

I started to read "Lost Illusions" once and didn't get very far. Not that I thought it was bad, but rather that I just wasn't in the mood for Balzac's style of writing just then. I'll probably revisit it some day.

So I can't speak to how good an adaptation this movie is, but man is it a good movie in its own right. I love stories about women in big dresses and men in cravats exchanging significant glances in drawing rooms, which is pretty much all this movie is. The young actor Benjamin Voisin carries this movie admirably on his slim shoulders, and the whole thing is a scathing indictment of the relationship between journalism, wealth, and power. It's eye opening, not necessarily because it's surprising, but because it makes Paris of the 1800s relevant to the world of 2023.

And I don't think I've ever seen a more effective and artistic closeup of male genitalia in a film before. The juxtaposition of a fistful of money against a male penis says in a single image what Balzac spent pages and pages communicating to his readers.

Grade: A.

It's a 600 page novel that had to be boiled down to fit the running time of 2 1/2 hours, some minor characters had to be thrown out. The third part of the book is dispensed with--no great loss.

We are left with a wonderful satire of the popular press in France circa 1830. Graft and bribery are part of the game, and our hero Lucien is never quite sure where the next knife is going to come from that will enter his back. My favourite character is Sarfati, the claque leader, whose mob can be bought for whomever pays top dollar. The acting is superb, as you might imagine: Depardieu, de France, de Lenquesaing all acquit themselves well, and Vincent Lacoste as Lucien's changeable buddy Lousteau is marvellous. Only Benjamin Voisin doesn't quite meet the demands of the role, and he's in almost every scene. Sets and costumes are very good, and Giannoli's direction is assured.

After a long hiatus since the pandemic, I made a return to the cinema notably to catch up with #lefrenchfilmfestival. Most of the films I would say struggled to justify your time in the cinema indulging in such frivolity but this one particularly stood out.

I am not familiar with and have never read Balzac but I reckon this film gives you a glimpse of his genius and why he remains a giant in French literary circle, not merely for prose or poetry but for his devastatingly incisive social commentary still relevant today.

And one couldn't help but feel despite our technological advancements and having totally plundered the planet, from a moral standpoint the world hasn't progressed not even an inch today and remains mercilessly mercenary under a veneer of righteousness as Balzac had so accurately depicted some two centuries ago.

Dazzlingly executed with a superb ensemble of cast, illuminating performances, a production nothing short of breathtaking and lashings of Baroque including the less often heard Jean-Philippe Rameau, the film remains and stays with you long after you have left the cinema.

I was a little scared before watching this film; I was scared to get bored, because romance in costume is not my stuff. Speaking of costume movies, this is not BARRY LYNDON but a captivating French film, which could have been made seventy years ago by an Albert Lewin, starring George Sanders, except maybe that the lead character here is not as nasty, selfish, cynical as Sanders was in his films, and mabe not only in his films... This is the itinerary of an idealistic young man, not naive but ambitious, who tries to survive in the Paris jungle: journalism, theater, publishing, politics, a cruel, superficial, cynical, rotten, insecere, opportunist world where sharks spread everywhere. I guess Claude Chabrol could have made it too, and I think Xavier Gianolli is an authentic heir ofChabrol. It is brilliant, sensitive, bittersweet and full of details of the atmosphere of this period. Adapted from Honoré de Balzac, this would be great if this kind of films could be made about more novels from Balzac or even Zola, why not? This is millions of times better than stupid French comedies for red necks where you need someone near you to tell you when to laugh. It is after all a rise and fall scheme, which makes it more interesting.