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Prestami il rossetto

Titolo originale: Coup de foudre
  • 1983
  • PG
  • 1h 50min
VALUTAZIONE IMDb
7,0/10
2416
LA TUA VALUTAZIONE
Prestami il rossetto (1983)
BiografiaDrammaGuerraRomanticismo

Aggiungi una trama nella tua linguaA Jewish refugee marries a soldier to escape deportation to Germany. Meanwhile a wealthy art student loses her first husband to a stray Resistance bullet; at the Liberation she meets an acto... Leggi tuttoA Jewish refugee marries a soldier to escape deportation to Germany. Meanwhile a wealthy art student loses her first husband to a stray Resistance bullet; at the Liberation she meets an actor, gets pregnant, and marries him.A Jewish refugee marries a soldier to escape deportation to Germany. Meanwhile a wealthy art student loses her first husband to a stray Resistance bullet; at the Liberation she meets an actor, gets pregnant, and marries him.

  • Regia
    • Diane Kurys
  • Sceneggiatura
    • Diane Kurys
    • Alain Le Henry
  • Star
    • Miou-Miou
    • Isabelle Huppert
    • Guy Marchand
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,0/10
    2416
    LA TUA VALUTAZIONE
    • Regia
      • Diane Kurys
    • Sceneggiatura
      • Diane Kurys
      • Alain Le Henry
    • Star
      • Miou-Miou
      • Isabelle Huppert
      • Guy Marchand
    • 22Recensioni degli utenti
    • 19Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 1 Oscar
      • 2 vittorie e 7 candidature totali

    Foto18

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    Interpreti principali30

    Modifica
    Miou-Miou
    Miou-Miou
    • Madeleine
    Isabelle Huppert
    Isabelle Huppert
    • Lena Weber
    Guy Marchand
    Guy Marchand
    • Michel Korski
    Jean-Pierre Bacri
    Jean-Pierre Bacri
    • Costa Segara
    Robin Renucci
    Robin Renucci
    • Raymond
    Patrick Bauchau
    Patrick Bauchau
    • Carlier
    Jacques Alric
    • Mr. Vernier
    Jacqueline Doyen
    • Mme Vernier
    Patricia Champane
    • Florence
    Saga Blanchard
    • Sophie
    Guillaume Le Guellec
    • René
    Christine Pascal
    Christine Pascal
    • Sarah
    Dominique Lavanant
    Dominique Lavanant
    • L'aboyeuse
    François Cluzet
    François Cluzet
    • Un militaire
    Gérard Chambre
    • Flirt
    Jacques Blal
    • Lionel Feldman
    Bernard Cazassus
    • Le chef de gare
    Anne Fabien
    • La femme élégante
    • Regia
      • Diane Kurys
    • Sceneggiatura
      • Diane Kurys
      • Alain Le Henry
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti22

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    Recensioni in evidenza

    7eightylicious

    Coup de foudre - The 50's in France with an 80's twist

    Diane Kurys knew a lot about women's relationships. Growing up as a daughter of a couple who met on a camp during the Second World War, she examined female psychology in different stages of life through her films. One of the most successful ones was "Coup de foudre", made in 1983. The phrase means "love at first sight" and by seeing the film, I understand why it was chosen as its title.

    It's 1942. A woman, Léna (Isabelle Huppert), marries a Jew (Guy Marchand) in order to escape deportation from France. Another, Madeleine, (Miou-Miou) loses her lover to an ambush of the Resistance. Their paths will cross ten years late. Now, Madeleine has a new husband, while Léna still lives with Michelle. They are both free-spirited, spontaneous and smart; in short, kindred spirits. So starts a friendship, a bit different from the others. So different, in fact, that it threatens to destroy the marriages of both.

    At the time in which the film is set, women in France had few rights and lots of obligations imposed to them by the conservative society. They were responsible for the household, the children (because, of course they had children, how would France get brave sons and nice daughters?), and generally everything except work, which was the man's job. They couldn't even get a car without their husband's permission! It is evident that the two heroine's were oppressed in this society, which expected them to fulfill their role as prudent, responsible wives, without personal desires.

    In the 80's, a lot had changed. Women were more independent, they could work without being discriminated against, except for some jobs, were they still faced criticism because of these professions being considered "masculine", like the police (see for this, "La femme flic" by Yves Boisset, also starring Miou-Miou). Women had it better, and so started to examine their position during these decades of oppression that had preceded their own. "Coup de foudre" was a product of this process.

    It is interesting to see how Kurys showed these women's position in the society. The heroines are just expected to give up on their dream of opening a boutique so as to devote their life to their families. And, what about the thought of them being friends, or even something more? How would the civilized French society accept this? Diane Kurys based the character of Isabelle Huppert on her mother, something which makes the story even more interesting. If the character is almost real, this means that her mother was actually treated like how the film showed in the 50's. To think of that now is truly depressing.

    As for the performances, they were excellent. Both Miou-Miou and Isabelle Huppert were very convincing and likeable. The way they portrayed their friendship and how it grows was very sweet and kept the film going, since I couldn't wait to see how they would end up. The male actors were also commendable, especially Guy Marchand, who, with his performance as Michel, Léna's husband, represented an archetype of the classic 50's husband, one who is the breadwinner of the family, but doesn't hesitate to punish this family if the other members (especially the wife) don't behave the way he wants. I wonder if Guy Marchand had something with playing strict fathers, since his role in "P'tit con" (1984) was similar to his one in "Coup de foudre", if a little kinder.

    The music was admirable for the fact that it transported me to this time. Comprised of French- and English-language hits of the time, it wasn't appealing to me aesthetically, but it retained the realistic character of the film.

    All in all, I found the film interesting both from a sociological and an aesthetic perspective. It is admirable for the way it tried to do justice to women in a period when they were not exactly respected, and for its solid performances by capable actors. Watching this in a time when I will not be criticized for wearing trousers in public, or expected to have children by twenty, I felt glad not to have been born back then. Of course, this doesn't means that the 50's were only an oppressing time for women. There's always the other side, and I am eager to discover it.
    9bob998

    Glowing praise

    Diane Kurys made four films out of her childhood and adolescent experience; that's one of the richest mining for memories in cinematic history. Besides Coup de foudre/Entre nous, there are C'est la vie, Diabolo menthe/Peppermint soda, and Cocktail Molotov (which I have commented on). Kurys's experience is growing up Jewish in post-war France, where the social values are secular but the traditions of the community she belongs to are not.

    The story of Lena and Michel may seem bizarre to North Americans--they meet and marry on the same day to escape deportation to the death camps--but it must have seemed quite understandable to the people who had to live through that madness. That Michel loves Lena passionately while she finds him dull and vulgar is also normal. These people are making-do with what they've been given, as are Madeleine and Costa, the other unhappy couple.

    You either love or hate Isabelle Huppert--I must admit to the latter many times over the years, but Miou-Miou is worth whatever the rental or purchase price for this picture is: she's just wonderful; the smallest gesture of her hand carries so much meaning. One great scene has Costa, the world's worst businessman, bent over the sewing machine trying to add sleeves to shirts with only one sleeve that he's bought on the black market; Madeleine stands in the next room working at a sculpture, simultaneously trying to console Costa and quietly make him realize what a mess their lives have become.
    9bj_lucky

    A bittersweet portrayal from a daughter's point of view

    The sweetest thing about this film is the portrayal from a daughter's view of her parents' struggles with who they are and their relationships with each other. The ending dedication of the film is quite poignant. This film is a reminder of the ways our lives are thrown together and how that intertwines with the choices we make. This is a bittersweet love story on more than one dimension.
    tdean

    Wonderfully Moving and Sad Movie About Style and Incompatibility

    This is a very moving film. I think I found it more sad than some of the other reviewers. It's really about the decline of a marriage through the incompatibility of the couple.

    The incompatibility is brought home to the woman by her class, education, style, grace and education. (The sophisticated one, played by Miou Miou is just extraordinary acting). In essence, the sophisticated woman causes the central woman (played by Isabelle Huppert) to realize that her husband is a dolt, and that they share far more than she and her husband. The wonderful thing about the movie is that though the husband is a boob, insensitive and sometimes prone to violent anger, there is no doubt that he slaves for his family, is very humble, and deeply loves his wife and his two daughters - no question about it.

    We get to see his pain as his wife falls out of love for him, his sometimes violent jealousy of the woman who has made his wife see him differently, and his heartbreak. It's quite profound. Those who say it all ends happily were watching another movie!

    I loved the periods, the costumes, the settings - from Paris on Liberation Day through the 1940s and 1950s. Although it's the daughter's story, we see much of how the couple earlier met, married and began their married life. You will love it - it's more fast-paced than many French movies, and wrenching.
    moyaroo

    One of my favorites

    I wasn't sure where this movie was going at first, but as it picks up the pace there is little doubt as to whom the nous in the title refers.

    When Huppert says "Je tu manque" (pardon my French it is I hope close) "I miss you" she might as well be declaring the love that is boiling out of her. But there is the problem of the spouses to be resolved, and the children. Needless to say all is reconciled and true love triumphs.

    I have seen this movie at least three times now and love it more each time. There is a tenderness between most of the characters (one is a lout pure and simple) but the others all strive to reconcile who they are to to events that enfold them. Their struggles hit all of the right notes (with the possible exception of a very steamy sex scene on a train which just doesn't work for me)

    It is a tear jerker at times, but a beautiful tear jerker. and so I always did like those forties movies.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      The movie is based on Diane Kurys' parents and the woman that came between them.
    • Blooper
      At the celebration following Liberation, the U.S. flag has 50 stars. At that time there would have been a 48-star flag.
    • Citazioni

      Lena Weber: [showing off a black cocktail dress] Do you like it? You don't? Madeleine lent it to me.

      Michel Korski: She didn't dare wear it? Take it off at once.

      Lena Weber: What's got into you?

      Michel Korski: Know what you look like? It's so tight, I can see your panty line.

      Lena Weber: [takes off her panties] There. No more panty line. Gone!

    • Connessioni
      Featured in At the Movies: Special Show: At the Cassette Store, Part 3 (1986)
    • Colonne sonore
      Si tu Vois ma Mère
      Music by Sidney Bechet

      Performed by Sidney Bechet

      Editions du Carrousel - disques Vogue

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    Dettagli

    Modifica
    • Data di uscita
      • 6 aprile 1983 (Francia)
    • Paese di origine
      • Francia
    • Sito ufficiale
      • StudioCanal International (France)
    • Lingue
      • Francese
      • Inglese
    • Celebre anche come
      • Entre Nous
    • Luoghi delle riprese
      • Camp de Rivesaltes, Rivesaltes, Pyrénées Orientales, Francia
    • Aziende produttrici
      • Gaumont
      • A.J.O.Z. Films
      • Partner's Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 3.974.975 USD
    • Lordo in tutto il mondo
      • 3.974.975 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 50 minuti
    • Mix di suoni
      • Mono
    • Proporzioni
      • 2.35 : 1

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