Femme Fatale


Femme Fatale

概要:

概要はこの言語で利用できません。

294 (6.2/10)

ランタイム: 114 分

発売日 2002-08-29

予算: $35,000,000.00

売り上げ高: $16,838,910.00

制作会社:

  • Epsilon Motion Pictures
  • Quinta Communications

生産の国:

  • Switzerland
  • France

ジャンル:

  • スリラー
  • 犯罪
  • ロマンス

トレーラー

さらに詳しい情報

Laure/lily
Rebecca Romijn
Rebecca Romijn
Nicolas Bardo
Antonio Banderas
Antonio Banderas
Watts
Peter Coyote
Peter Coyote
Veronica
Rie Rasmussen
Rie Rasmussen
Shiff
Gregg Henry
Gregg Henry
Black Tie
Eriq Ebouaney
Eriq Ebouaney
Racine
Edouard Montoute
Edouard Montoute
Serra
Thierry Frémont
Thierry Frémont
Napoleon
Jo Prestia
Jo Prestia
Stanfield Phillips
Fiona Curzon
Fiona Curzon
Pierre
Daniel Milgram
Daniel Milgram
Seated Guard
Jean-Marc Minéo
Jean-Marc Minéo
Truck Driver
Salvatore Ingoglia
Salvatore Ingoglia
Power Room Guard
Bart De Palma
Bart De Palma
Herself
Sandrine Bonnaire
Sandrine Bonnaire
Himself
Régis Wargnier
Régis Wargnier
Himself
Gilles Jacob
Gilles Jacob
Cannes Commentator
Jean Chatel
Jean Chatel
Irma
Éva Darlan
Éva Darlan
Casting
Suzanne Smith
Suzanne Smith
Director of Photography
Thierry Arbogast
Thierry Arbogast
Set Decoration
Françoise Benoît-Fresco
Françoise Benoît-Fresco
Director
Brian De Palma
Brian De Palma
Writer
Brian De Palma
Brian De Palma
Editor
Bill Pankow
Bill Pankow
Casting
Billy Hopkins
Billy Hopkins
Producer
Marina Gefter
Marina Gefter
Casting
Kerry Barden
Kerry Barden
Sound Engineer
Jean-Paul Mugel
Jean-Paul Mugel
Sound Mixer
François Groult
François Groult
Original Music Composer
Ryuichi Sakamoto
Ryuichi Sakamoto
Producer
Tarak Ben Ammar
Tarak Ben Ammar
Costume Design
Olivier Bériot
Olivier Bériot
Supervising Sound Editor
Laurent Quaglio
Laurent Quaglio
Executive Producer
Mark Lombardo
Mark Lombardo
Production Design
Anne Pritchard
Anne Pritchard
Makeup Artist
Nena Smarz
Nena Smarz
Art Direction
Denis Renault
Denis Renault
Script
Aruna Villiers
Aruna Villiers
Makeup Artist
Jean-Luc Russier
Jean-Luc Russier
Hairstylist
Mauro Tamagnini
Mauro Tamagnini
Art Department Coordinator
Nathalie Serrière
Nathalie Serrière
Sound Mixer
Anne Le Campion
Anne Le Campion

John Chard

Isn't sugar better than vinegar? **SPOILER ALERT - The last paragraph makes reference to a 1940s film that constitutes a spoiler. ** There rarely seems to be anything in between where Brian De Palma films are concerned, cinematic lovers of all kinds by and large either trash or laud his films. Femme Fatale is no different, one critic - both professional or amateur - will have it as a 1/10 movie, another will have it at the maximum rate available. Femme Fatale is high grade stuff if one is either a De Palma fan or a lover of film noir. Conversely if these two things don't tick your film loving boxes then the law of averages suggests you should have - or should - stayed/stay away from it. De Palma opens up the doors to his fun house and invites noir lovers to come on in and enjoy. It's difficult to write about the plot because it holds many twists and turns, it's a veritable supply of uppers and downers, twisters and benders, all sexed up and pumped full of De Palma's trademark tricks and devilish rug pulls. In truth the story and set-up is predictable, but the journey is what makes the pic ooze quality and bare faced cheek, with the director giggling away like a schoolgirl in the background. Opening up with a sequence that sees our titular fatale (Rebecca Romijn-Stamos) watching famed noir classic Double Indemnity, De Palma proceeds to homage and love the film noir world. As he uses split-screens, canted angles, up-tilt shots, shadow plays etc, the narrative pulses with eroticism and impending cruelty, this really is a femme fatale based movie of the grandest kind. As events unfurl, with hapless photographer Nicola Bardo (a fun packed Antonio Banderas) caught in the web, Ryuichi Sakamoto's magnificent classical based score swirls around like some sort of peeping tom. The latter of which finds a shifty accomplice in Thierry Arbogast's noir photography. It's a picture awash with dupes, dopes and vengeful criminals, where the themes of identity, duality, sexuality and distorted perceptions gnaw away at those investing fully in the viewing experience. Some critics (prof and amat) have lazily likened the film to David Lynch's Mulholland Drive, as if De Palma in 6 short months watched Lynch's movie and then knocked this film out! The copy-cat charge as funny as the rug-pull that De Palma pulls here. Besides, as any film noir lover will tell you, this has more in keeping with Fritz Lang's 1944 noirer "The Woman in the Window" than Lynch's film, which is no bad thing at all, and De Palma knew that. 8/10

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