Recensioni degli utenti

There are some movies you watch to learn something, and some you watch to be entertained, and some you watch for both purposes.

This is a pure entertainment movie, and I liked it a lot. The most important things in a movie like this are to have a plot that twists and turns but remains at least semi-plausible, to have a reasonably attractive hero, a super-sexy femme fatale and appropriately menacing villains, and above all to keep up the pace no matter what. Anthony Zimmer does all of these things rather well. Throw in the bonus of lots of the high life -- the mountain-top super-house, the suite at the Carlton in Nice and all the rest -- and the extra bonus of a happy ending (I don't think that's a spoiler) and you make a very enjoyable evening out.

Don't bother trying to work out later how all the bits fitted together. Some of them don't fit all that well, but then they never do in films like this, and it's not the point. They fit together well enough while you're watching it.

I saw this at the annual festival of French films put on by the Alliance Française in Melbourne, Australia. It opened the Festival, and later was shown again at a multiplex. The later showing was originally supposed to be in one 250-seat cinema, but demand was so great that it eventually was shown in three 250-seaters simultaneously, all of which were completely full. We all went home happy.

Anthony Zimmer has disappeared with his ill-gotten riches, to change his looks and his voice with plastic surgery to escape the French customs police and a Russian mafia gang. A vacationer is selected on a train by Zimmer's girl friend, as having Zimmer's age and body build, and set up to appear to be Anthony Zimmer in order to fool Zimmer's pursuers. It works well, and the chase is on. One nuance of note: the customs police chief becomes fully aware at the end of what the viewer finds out.

A great film in all ways - superb acting, pacing, plot, scenery, and background music - all integrated in a very involving film. See this first, then see the remake (The Tourist) with Johnny Depp and Angelina Jolie to realize the faults of the remake. The Tourist is not all that bad, perhaps even above average, but Anthony Zimmer is much better.

This is a story which we've seen many times in American movies. About the common gentle guy who without wanting so, gets involved in heavy things. And it could happen to all of us.

The plot is rather clever, but you have some unanswered questions in the end. Sophie Marceaux plays the mystic lady and you never know whether she really is good or bad. Not even when the movie is over.

What is a quite intelligent psychological drama, turns into a violent outburst. Anyway it's nice to watch such a plot in another environment; here the French Côte d'Azur. But it's too physical in the end and maybe the plot maker hasn't had any real good ideas about how to finish it.

Classy and smooth. Like a French wine. The ending deserved maybe some more of the climatic suspense that built in places throughout the film. That was the only disappointment.

For a movie just shy of 90 minutes, it has to remain thin on the plot. At best you are given sketchy details about the key characters - or none at all. And remarkably the producers manage to throw quite a lot into this little mini masterpiece that keeps you watching all the way until the anti-climatic end.

Mystery surrounds all involved; from the main protagonist being hunted by law enforcement and Russian mafia alike, to the love interest, the cop, the hitman and even the "hero."

It's a whirlwind chase that treats us with what we hope will be a whirlwind romance at the end of dramatic chase scenes and perhaps a finale and showdown between the hunted and his pursuers. You are given a surprise ending, just maybe not what you'd expected or hoped for.

Anthony Zimmer is definitely a clever film and deserving of awards. For such a short movie, they really manage to build up our sympathies for key characters and also build hope of a future together for two people needing a fresh break. It's a film that teases you all the way. Teases your sense of intrigue through the opening sequences and then takes you on the chase for the mystery man.

You can't be sure who Anthony Zimmer is or where he'll jump out at you. And at times you can't even be sure he is actually a he at all. I can't throw in a spoiler; so I'll just tease you the way the movie does. Does "he" even exist? Hmmm.

Sit back and enjoy the chase. Pretty certain you'll be glad you did.

In Paris, the international police force and the Russian mafia are chasing Anthony Zimmer, an intelligent man responsible for laundry of dirty money in France. Zimmer was submitted to a plastic surgery, and his new face and voice are completely unknown. The only means to reach Zimmer is through his beloved mistress Chiara (Sophie Marceau), who is under surveillance of the police and the mobsters. While traveling by train to the country nearby Nice, the common man François Taillandier (Yvan Attal), who has the same body shape of Zimmer, is select by Chiara as if he were Zimmer and used as a bait to lure those that are pursuing her. When Taillandier is chased by the professional Russian killers, he runs the French police when the real situation begins to be disclosed to him.

"Anthony Zimmer" is a great thriller, with a situation that recalls Hitchcock's classic "North By Northwest", i.e., a man mistaken for another and pursued by criminals. The attractive story has many twists, a nice cast with the gorgeous Sophie Marceau and the efficient Yvan Attal in the lead roles. The beautiful locations in France is an amazing tour in this wonderful country. My vote is eight.

Title (Brazil): "Anthony Zimmer A Caçada" ("Anthony Zimmer The Hunting")

...or she in his? Captivating, elegant little thriller. It's not spectacular in any obvious way, yet I couldn't take my eyes off the screen for just one second. It starts out almost exactly like "Mr Bean's Holiday": a guy on a southbound express train, headed for the coast, hoping for recreation. Which he won't find. That's where the the script leaves the common ground. It's rich in twists and turns, clever to the point of cunning. Production design and cinematography are among the most elegant you will find. Cool, minimalistic interior sets contrast with the time-tested cinematic sparkle of the Côte D'Azur. Similarly, wide-angle shots are inter-cut with extreme close-ups, e.g., of pills dancing on a shaking spiral staircase, the pulsing red halo of the caller light on a ringing telephone, or a pair of shades dropped casually into an earthenware bowl. Scenes you have seen a thousand times, this movie makes you see them with new eyes: a guy killing time watching TV, a car chase in an underground parking lot, or someone having coffee and reading the paper in the morning sun. Admittedly, Sophie Marceau helped to keep me interested. She plays a woman six years her junior, and she more than gets away with it. She is in the shape of her life. I think she may have had something done to her face, but it looks good and doesn't show. I can see why President Mitterand took her on his trips abroad as an icon of French allure. The five-second scene in which she wires herself for the showdown alone made it worth my while. The final plot twist may not be up to common standards of plausibility, but it doesn't subtract from 90 minutes spent in silent wonder at what the French can do with a little sunshine and lot of mascara.

Director Jerome Salle wanted this film to remind us Hitchcock's or Polanski's movies with the next door guy type getting caught into a web of mistaken identity. He actually tries more with a story which may have had a better chance if it decided whether it wants to play on the thriller or on the romantic movie line. Unfortunately he seems to try to do both and fails on both, because we are never sure what the director wants for us, and because the point of gravity where he takes us changes too sudden. We are left with a well acted film with Sophie Marceau and Yvan Attal leading a good team of actors, but also with a feeling of in-satisfaction because despite the good ideas the film ends by looking too short and too superficial to give us time to be thrilled or to be moved.

This is an engaging and quite clever thriller, produced, directed and acted as only the French do: stylish, cool, suave – and with a twist. Or, was it a double twist? Here's the setup: a wanted criminal, Anthony Zimmer, is being hunted by the French police who want Zimmer in jail; and by the Russian mafia who just want him dead. Zimmer, however, has recently acquired a new face via plastic surgery; so nobody knows what he looks like now.

He has a weakness, however: the femme fatale who, in this case, is Chiara (Sophie Marceau), who keeps in touch with Zimmer via classified messages in the Herald-Tribune. As his girl friend, she's instructed by letter, from Zimmer, to board a train and pick the man who most closely resembles Zimmer's size and shape – and then play up to him as though he was in fact Anthony Zimmer. Why? Because Zimmer wants an available sap to act as stand-in when the mafia make their hit...

Enter poor Francois Taillandier (Yvan Attal), minding his own business on the train when the gorgeous Chiara sets down opposite and, very adroitly, gets Francois to join her in her travels to the Cote d'Azur and a luxurious holiday… he thinks. Francois figures he's maybe in heaven for the first day, a wonderful dinner, followed by the potential for real romance.

And then, the sky falls in...

In short order, Francois is running for his life (almost like Dustin Hoffman in Marathon Man [1976] and for similar reasons) as the mafia try twice to kill him, Chiara reveals that she set him up, the mafia keep on trying to make a hit on him, the police try to help him, and Zimmer's still pulling the strings it seems. Things are closing in on Francois, and it seems like only a matter of time before he takes a hit.

Not everything is as it seems, however...

To say more would spoil this film for you. Suffice to say that, like Hitchcock and others before, the denouement between the police, the mafia and the elusive Zimmer is very satisfying, if somewhat contrived, perhaps.

The ending, however, does raise some interesting questions and provides no firm answers, an aspect I particularly like – because that allows me to formulate the complete end according to my own inclination. Besides, whenever you read about murder and mayhem in real life, you never get the full story anyway. Right?

The cinematography is exquisite on the French coastline, the sound track is good, the acting is...oh, who cares...I was too busy looking at Sophie Marceau anyway. Okay – the acting was adequate, but not spectacular.

See this one. You won't regret the ninety minutes.

Anthony Zimmer (2005)

Ah, this has its moments, but it sure is overly clever and at times overly derivative. The interactions and scenario of an elite crook and some undercover and suspicious types on the boundaries of the big hunt for him are taken straight from a lot of previous movies--even from "North by Northwest," of all things, which you'll catch in the train conversation and in the general nature of the leading woman in both cases. It's all well enough done to keep you watching if this is your kind of movie, and I didn't mind traipsing along even as it seemed to bowl into a lot of old tricks.

What was worse, overall, was the dependence on a huge trick, one that you might or might not anticipate, and which comes along at the very end like a splotch of ketchup on your plate. Yeah, yeah, we were warned the escapee was a master of disguise and had had a lot of plastic surgery, but still, it's just not enough, not enough.

Everything is set in the south of France, Nice to be exact, and is pretty and fun (like a lot of other movies set there). The movie itself is French, of course, and in one nice scene a man starts to ask a question in English, and another man (one of the chief cops, we suppose) says, "I don't speak in English," or something to that effect. It seems a perfect point to make as so many movies these days are partly in English as if to make it easier on British and American (and Aussie and South African and Singaporean, yes yes) audiences. (A lot of French films in particular use a bit of English--or a lot--to do more than just sound international.)

But I find an interesting nuance mostly because the movie is otherwise a very straightforward affair. Enjoy. See it on a plane. Have alternatives in mind.

Not very often have I watched a thriller that entertained me as much as this one, throughout its whole duration. I don't think this film made a big splash at the box office or earned much critical acclaim, which is a shame.

In my view, its fascinating scenery, the many twists and turns, a fabulous Sophie Marceau, and not least a clever ending, make this pure entertainment to watch and would have deserved better.

The film does remind me of Hitchcock at his best.

Not all the pieces may fit together all the time, but I don't find this to be an issue with this movie. When the final credits rolled, I was still in a kind of trance smiling to myself about the clever storyline and its convincing presentation.

I found this movie a bit slow paced in many places, sometimes unnecessary so.

However that being said, I have noticed that the major part of the plot has already been given away in the first 20 minutes of the film. If you watch and listen carefully, you will realize who Anthony Zimmer really is. I thought this is a real let down to this movie. Too predictable.

Sofie Marceau is really very sexy in the movie, much better than what Hollywood filmed her in their movies. As usual, she portrays a woman who is coldly sexy, turning to a hot object of desire in several scenes.

The plot of the movie is relatively simple, and its length is a bit too short. There were many subplot possibilities which were not explored.

If you like a evenly-paced thriller, this is probably for you.

First I have to confess Alfred Hitchcock is not my favorite filmmaker - perhaps partly due to the somewhat clunky exposition he sometimes used but there are elements of Anthony Zimmer which I enjoyed and which recalled Hitchcock at his best. As so many have said before me Sophie Marceau is very,very good in Anthony Zimmer but , for me, Yvan Attal was the standout. I have liked his somewhat deadpan style since "Les Patriots" (still one of my favorite thrillers) and here, as the 'ordinary' guy supposedly caught up in things beyond his knowledge he plays a much more realistic Cary Grant type than you would usually see in a Hitchcock movie. Sure, you can tell pretty quickly he's not really who he seems to be but then how long did it take you to figure that Grant wasn't all he seemed in "North By Northwest". That's part of the fun of films like Anthony Zimmer. I've seen "Zimmer" twice and I'll be more than happy to watch it again.

This is an excellent film to watch with a significant other ... but make sure to schedule some "debriefing time" afterward. If you like films such as North by Northwest and The Thomas Crown Affair, you are bound to be intrigued by Anthony Zimmer.

Sophie Marceau plays her part as femme fatale with a perfect mix of Eva Marie Saint's Artemisian aloofness and Rene Russo's no-nonsense sensuality, and it is a pleasure to watch her interaction with Yvan Attal throughout the film. I think I can safely promise that as soon as the film has ended, you will want to see it all over again.

In an age of computer-generated action and ever-expanding body parts, it is true bliss to be seduced by a film that generates suspense in such a variety of ways. Jerome Salle needs no ticking bombs or buried treasures to tell a good story. As long as a man knows how to dress, how to write a script, and how to deal with a lady like Chiara, the rest will naturally follow ... Too bad so few Anglo-Saxon writers/directors respect those basic rules.

Bottom line: If you rent Anthony Zimmer, you won't need a back-up film. Just make yourself comfortable, and get on that train. (PS: I'm not sure shoes like that are legal outside France ... )