100 Movie Challenge: # 73 Natalie | The cinema
January 15, 2018
The French drama "Natalie" 2003 of the director Anne Fontaine was presented at the International Film Festival in Toronto. The director herself admitted that she was not satisfied with her film to the full extent, as Fanny Ardan and Emmanuelle Bear rejected her intention to translate on the screen the development of erotic relationships between their heroines. What, in other matters, did not prevent the actresses from receiving the nomination of the European Film Academy in the category "Audience Award for Best Actress".
# 73: Natalie / Nathalie
What a pity that I first saw a Hollywood remake with my beloved Julianne Moore, and now I can not get rid of obsessive comparisons of two films. And it's not that "Natalie" is worse or better than "Chloe". I just now knew the story in advance. And from trumps left to be content only actor's game. But it is worth noting that these films also have enough differences. The French were more modest in their fantasies and confined themselves only to hints of a connection between the two main characters. And the ending here looks more winning. It is much simpler, but more real.
As for the development of the storyline, in the Hollywood version this moment is beaten better. There, the wife suspects the husband of treason and hires a girl to get evidence of infidelity. Here, the wife initially knows the fact of treason, but still hires a prostitute. But why? Why do we need to learn everything to the smallest detail? What kind of psychological masochism? I do not understand this desire. But it's still interesting to observe the behavior of the characters. Natalie's reports, I think, sounded unconvincing. Although I can not judge objectively, because I knew in advance the denouement.
But in the actor's plan I have no complaints. All the main characters are played superbly. I'm neutral about Fanny Ardan. Julianne Moore created a warmer image of a loving wife, a keeper of the family hearth. But I can not help noticing the femininity and elegance of the French diva. It's nice to look at her refined and graceful gestures. But most of all I was once again conquered by Emmanuelle Bear. Here, of course, Amanda Seifred significantly loses both by charisma and by filing. Bear charms with his big eyes, puffy lips, pronounced cheekbones. Night make-up, of course, is too vulgar, but it looks very impressive when she languidly closes her eyes when holding a cigarette in her hand when straightening her hair. Simply unreal magnetism comes from it. I love her very much for this natural charisma. In general, a good erotic drama for aesthetes with luxurious French women.
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