Émile (2003)

Very Cool!!!

Powerful

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

In the second part of a twin bill for Ian McKellen, he stars with Deborah Kara Unger in a compelling drama about a man who goes back home after 40 years and has to deal with the past he left behind.In contrast to Cold Comfort Farm, in which McKellan played a small role, this movie is all about him. He goes back and forth from the present to his life in Canada 40 years before. He even engages in conversations with his brothers, who appear in the present. he works to resolve his crisis and, with the help of 10-year-old Theo Crane, is able to come to a comfortable conclusion.For those of us who leave home and return, there is a lot of things familiar in this very good movie.

I don't often have the chance to see a good movie like this one. Beautiful image, excellent music, great acting ( from the always talented McKellen and the good Deborah ); but most of all, a great movie with a "Les fraises sauvages" flashback style, which is an excellent way to "renew" this old and easy flashback method. Takes place in beautiful places honored by Carl Bessai's expert lighting and photographic style. The story, also, is very good, a story of regrets about the past that cannot be changed. You have to see this movie if you love great images, great acting talent ( what is this guy doing in x-men anyway ?? --> I understand, lots of money... i'd do the same... ), and good moments.11/10 !

You are well into the second quarter of this film before you can figure out just who is who. The frequent flashbacks, done in a style that would work better on a stage than on the screen, are confusing until you figure out what is happening. Nevertheless it is a warm picture with a good cast and a straightforward plot that generates some very human moments. At least it's a film --- and a reasonably decent one --- that shows Canada as Canada and not disguised as a stand-in for some place in the US. It's obviously done on a low budget with an unknown cast but that does not have a heavy impact on quality. There is some young talent here on both sides of the camera. Not a great film, but not a bad one either.

Unlike many movies discussing family, Emile focuses on the relationship among brothers, among uncle and nieces. Sometimes, it is a lot of so-called obligations between father/mother and son/daughter. The bond is too strong to escape from it. It is more romantic, as holiday hobby is more romantic than weekday job. There are a lot of space for one's free will, a man doesn't have to scarify just because he is someone else's whoever.It is why I can only partially agree with the footnote of the movie `it is a movie about human being rather than human doing.' He has choice, what he has done of course decides what he is. I just grasp something from existentialism.Compare to the director's previous work, Lola, the movie with a younger woman as leading character, I can identify myself with the characters in Emile more. People in Emile suffer more struggles inside their hearts. Lola does experiences many exciting and fantastic, and she does suffer something. However, I can't find any identity in her `innocent' expression.It is an interesting thing when the movie reminds me of another Ian McKellen's great acting, Gods and Monsters. Maybe it is because of the way of describing, putting now and then, reality and imagination together in the same picture. (It made me think that `Ian McKellen's acting is similar to his previous one' at first. Actually, Emile and James Whale are built much different.) Director Carl Bessai spent much effort to build up such the atmosphere of what happens in an old man's mind, much more than Bill Condon did, in my `humble' opinion, a little too much. Carl Bessai chose still rather than action. It seems to express the idea `human being rather than human doing'. It is also a trade off a director must take.In a picture, a motion picture, the present and the past are seamlessly married, but not in a logic. The screenplay doesn't give a good and strong reason to release the ice wall between Emile and his niece, Nadia. A strong ending doesn't mean exciting action or whatever else. Of course, you can choose a tranquil way, but the most tranquility has huge surges beneath.Ian McKellen's acting is so convincing, Emile seems a part of himself. (Maybe he would protest that there is no a single character can present himself.) It is rare that a veteran actor can bring a sense of innocent. And Deborah Unger surprises me much. Her coldness toward Ian is the most incredible, because it is also rare that a young actress can build up such tense to someone much older than herself, rather than go in the same direction. Tygh Runyan did not act much in the movie, but he has a sensitive looking.