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L'anglaise et le duc (2001)
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Overview
User Rating:
Director:
Writers:
Release Date:
7 September 2001 (Belgium)
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Plot:
During the French Revolution, a Scottish aristocrat and her former lover, the Duke of Orleans, find themselves on opposite sides of the conflict. full summary | add synopsis
Plot Keywords:
Awards:
3 nominations
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User Comments:
seeing through other eyes
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Cast
(Cast overview, first billed only)| Jean-Claude Dreyfus | ... | Le duc d'Orléans | |
| Lucy Russell | ... | Grace Elliott | |
| Alain Libolt | ... | Duc de Biron | |
| Charlotte Véry | ... | Pulcherie the Cook | |
| Rosette | ... | Fanchette | |
| Léonard Cobiant | ... | Champcenetz | |
| François Marthouret | ... | Dumouriez | |
| Caroline Morin | ... | Nanon | |
| Héléna Dubiel | ... | Madame Meyler | |
| Laurent Le Doyen | ... | Section Miromesnil: Officer | |
| Georges Benoît | ... | Section Miromesnil: President | |
| Serge Wolfsperger | ... | Section Miromesnil: Aide | |
| Daniel Tarrare | ... | Justin the Doorman | |
| Marie Rivière | ... | Madame Laurent | |
| Michel Demierre | ... | Chabot |
Additional Details
Also Known As:
MPAA:
Rated PG-13 for some violent images.
Parents Guide:
Runtime:
129 min | USA:125 min (New York Film Festival)
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 more
Sound Mix:
Certification:
Italy:T |
Argentina:13 |
Australia:PG |
Brazil:14 |
France:U |
Germany:6 |
Peru:14 |
Spain:7 |
Switzerland:10 (canton of Geneva) |
Switzerland:10 (canton of Vaud) |
UK:PG |
USA:PG-13 |
Canada:PG
Filming Locations:
Company:
Fun Stuff
Trivia:
Chosen by "Les Cahiers du cinéma" (France) as one of the 10 best pictures of 2001 (#02)
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Movie Connections:
References The Far Country (1954)
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Soundtrack:
Ça ira
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Discuss this movie with other users on IMDb message board for L'anglaise et le duc (2001)| Recent Posts (updated daily) | User |
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| Original language of the book? | ParadiseFound |
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Recommendations
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I think this was one of the most intelligent, and most un-likeable, films, which I've seen for a long time. Somehow, Rohmer succeeds in placing us behind Grace's eyes, and we see her world as she has learnt to see it, constructed from the elegant water-colours which taught her to understand cityscapes, the frontal courtly portraits which record her own circle, and the sub-Hogarthian, propaganda caricatures which describe the revolutionaries for her. Not Hogarthian, of course: Grace wouldn't appreciate Hogarth, since he dared to contaminate HER world with caricature, just as she dislikes Laclos, and says so. And it hardly matters that what is happening around her is genuinely savage and terrible, because it is certain that Grace wouldn't have seen the crowd any differently six years previously. Rohmer constructs it with terrifying clarity: these are the eyes, this is the brain, which could produce the famous 'Let them eat cake', suddenly elucidated in a way no 'history of mentalities' could ever quite achieve. It's almost frightening, at the turn of the millennium, to become an eighteenth-century aristocrat with eighteenth-century aristocratic prejudices, even if you are made very aware of the references, if you can see the mechanics of those prejudices (and I think Rohmer is assuming that you are, and you can), if a part of your brain is beating on the bars and protesting against these generalisations, this lack of sympathy. You can't escape, the progression of events is so clear, Grace has such a clear vision within her invariable perspectives and distortions, she, and Rohmer, are so determined and convinced that you're locked into her logic. And then I came out of the cinema, and there were people running for the train and someone selling the Big Issue, and I realised just how Grace would have seen them - and just what a relief it was not to have to be her any longer.For two hours, Rohmer the sorcerer turned me into Grace Elliot, and I never, never want that experience again; but I know that I understand something a little more clearly for it.