We can’t watch Ildikó Enyedi’s new film, My Wife’s Story, without anticipation, as it was here in Cannes, we waited, we hoped the Hungarian film would win, and there was a chance, praised by French newspapers and critics. In heaven, not only because their world-famous actress, the glamorous beautiful Léa Seydoux, was the female protagonist of the novel. The French come up with stories that are cloudy about relationships anyway, especially if it’s beautiful, and my wife’s story is cloudy and beautiful.
What stirred up the tape was the collective criticism of American film critics, as a result of which the director had to delve into Cannes for a long time for a completely collapsed Dutch actor, Gijs Naber, who, by the way, celebrated the whole audience with standing at the premiere. In addition, these incomprehensible Anglo-Saxons criticized the dialogues saying that the English in the film was ridiculous, and that they did not speak English in the 1920s, but on the other hand, there was nothing wrong with the film’s dialogues (although we could See Dubbed Version) and location in London, Enyedi moves this place to Hamburg. So perhaps American critics have a more superficial view of how a French woman and a Dutch ship captain speak English in Hamburg, because it is clearly not the way their English compatriots speak in London.
But this is not the problem. I read these criticisms myself, which I practically managed to cut home from, one so straightforward that Gijs Naber had as much masculinity, and as compelling strength as a tree in the open sea. Opinion is free, of course, but it seems that the critic has not read Vost Milan’s work, because if he had read it, he would have known it
He is by no means a masculine and confident man, but a very strong or weak man, afraid of his weakness, perishing in his doubts,
who sometimes is able to be a support for a woman, sometimes she may need support. On the other hand, he is in constant dialogue with himself until he goes crazy.
And Gijs Naber Störrje is just that. Sometimes attractive and powerful masculine, sometimes completely insecure, sometimes frightening, sometimes mysteriously withdrawn, but by no means unpredictable, not even to himself. By all means, he has been falling from the start. I have a feeling he was reading Your Highness, unlike the critic.
Léa Seydoux is also a perfect choice for the role of Lizzy. The French are frivolous, cheerful, sometimes bashful and unpredictable, charmingly flirty, but most of all childlike. He’s taking Lizzie over such a kid so we don’t get mad at him. Because of this childhood, Enyedi Lizzyje is more charming and sympathetic than Füsté (i.e. Stör), and even when watching the movie Enyedi, we are unsure whether this woman is cheating on her husband at all, or unaware of the effects of her magic. , behavior, nor if men are flying around. (While this feeling is most evident in the novel in the reader, at least it develops much more quickly and with more force.)
We can no longer comment favorably on the dubbing, it was a very long time before we got used to the voice of Carole Haydock, who is also an actor in the film, as a cast member of Captain Store. And while his voice matches Léa Seydoux, the dubbing isn’t good, and it detracts from the enjoyment of the movie a lot. It was like it was a day for the whole thing and it had to be done quickly, though the dubbing rep might be good, and more attention had to be given to working on a larger scale.
Ennedi said of his movie, A Love Letter to Every Imperfect Man
This movie is just a love letter to every imperfect woman.
His vision is not that of a man or a woman, unlike the novel, where his vision is exclusive and exclusive to the man’s vision. As a true stranger, Ennedi writes this story with tremendous empathy and love, whose drama does not tilt in the direction of a husband or wife, but rather emphasizes the impossibility of developing and maintaining a relationship in the long term, in which communication and lack of communication are key. The portrayal of telling each other, living side by side, and the lack of real, open, honest communication is a huge strength of the film.
Both the director and critics have pointed out that, unlike Ennedi’s previous film, Body and Soul, this time it’s not a story of its own, but a faithful adaptation of which the adaptation is real, only more or less faithful, and perhaps volume. The duration of the film is still two hours and forty minutes, but fortunately we do not feel the unbearably long), perhaps the reason is the difference between the novelist and the language of the film. Of course, the director’s decisions, for example, in the scene where Störr unveils Lizzy on the beach clutching his coupe train with his sweetheart, Dédin, and pulling it off well, we really look forward to the sentence in the novel that “And I recommend you take it, I can’t stand being my wife.” The former whore.”
This sentence does not look like. And this is very much lacking here, because it belongs to the scene and also to the complex character of Captain Storr,
However, for some reason it does not appear. And there is no major scene in the movie where Captain Storr kills a man, a driver, who wants to take his money, even though that scene was filmed, but that would have made the movie really longer.
Ildikó Enyedi’s film is beautiful, wide-ranging and fun, with beautiful visuals and a serious dramatic repertoire, especially strong music in the right places (Bach, Tchaikovsky), but it doesn’t have the same basic violent and destructive power as Füst Milán’s novel The Rip, a man marred by doubt and a ruined life, is A great European masterpiece of life and it proves how much more difficult it is to be a man than a woman.
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