Les herbes folles
(Las hierbas salvajes / Wild Grass)
(Francia-Italia, 2009) [Color, 104 m.]
IMDb / Cinémotions
Ficha técnica.
Dirección: Alain Resnais.
Argumento: Christian Gailly (novela, "L'incident").
Guión: Alex Reval, Laurent Herbiet.
Fotografía: Eric Gautier.
Música: Mark Snow.
Producción: Jean-Louis Livi, Julie Salvador.
Productora: France 2 Cinéma / Canal+ / Studio Canal / F Comme Film / BIM.
Sinopsis: Marguerite no contaba con que le robaran el bolso al salir de la tienda. Ymenos aún con que el ladrón tirara lo que había dentro en un aparcamiento. En cuanto a Georges, de haberlo sabido, no se habria agachado a recogerlo. (FILMAFFINITY)
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"La cinta, como vienen siendo sus últimos trabajos, es una delicia con la virtud de la inteligencia, el diálogo ajustado, la dirección precisa. Un maestro." (Luis Martínez: Diario El Mundo)
Las hierbas salvajes. Les herbes folles es la primera novela adaptada por Alain Resnais en su carrera. El guión, firmado por Laurent Herbiet y Alex Reval , está inspirado en la novela L' incident de Christian Gailly y describe el encuentro de una mujer, Marguerite Muir (Sabine Azéma), dentista y piloto a quien le roban su cartera, cuyo contenido es abandonado en un estacionamiento, y de un hombre solitario de pasado turbio, Georges Palet (André Dussollier) que la recoge. Entre estos dos personajes, que no tenían ninguna probabilidad de encontrarse, va a establecerse una relación sentimental llena de sobresaltos e imprevistos.
"En medio de un festival (Cannes 2009) en el que demasiadas películas de la sección oficial luchaban por evidenciar su pretendida calidad, Les herbes folles brilla como un diamante en bruto por su libertad de tono y su gran fuerza vital. Aunque parezca un tópico, con sus 87 años, Alain Resnais fue el cineasta más joven de la competición ofreciéndonos una de las obras mayores de su carrera. En vez de entregarnos un testamento senil nos regaló un canto a los misterios de la vida. Como en Asuntos privados... o en Pas sur la bouche, su director juega con los modelos del teatro de boulevard para hablarnos de unos seres que se mueven como títeres o cobayas, a quienes el misterio del azar puede llegar a unir. La puesta en escena es brillante y elegante. Los actores están espléndidos convirtiéndose en unos seres que abandonan la racionalidad de su entorno para encontrarse atrapados, de forma progresiva, en un universo absolutamente irracional, guiado por la fuerza de ese oscuro objeto llamado deseo. El orden se rompe, las conductas cada vez resultan más absurdas, los diálogos se convierten en un sutil juego de rimas. Mientras el títere humano se resquebraja, surge una puerta abierta al misterio. Les herbes folles no deja nada atado y bien atado, la película no deja de abrirse hasta que aparece el enigma, hasta que surge el interrogante final que no impide racionalizar y dar sentido a los mecanismos de esa ficción que nos atrapa (ÁNGEL QUINTANA - Cahiers du Cinema España).
Marguerite n'avait pas prévu qu'on lui volerait son sac à la sortie du magasin. Encore moins que le voleur jetterait le contenu dans un parking. Quant à Georges, s'il avait pu se douter, il ne se serait pas baissé pour le ramasser (Cinémotions).
AMG Synopsis: Alain Resnais, one of the towering figures of the French New Wave, demonstrates he still has plenty to say in this drama based on a novel by Christian Gailly. Marguerite (Sabine Azéma) is a successful dentist with a busy practice and an offbeat hobby, flying small airplanes. One day, while running errands, Marguerite loses her wallet, and it's found by Georges (André Dussollier), a seemingly happy man with a wife, Suzanne (Anne Consigny), and two children (Vladimir Consigny and Sara Forestier). As Georges looks through the wallet and examines the photos of Marguerite, he finds he's fascinated with her and her life, and soon his curiosity about her becomes an obsession. Georges' attempts to integrate himself into Marguerite's life begin to alarm her, and she hires a private security team (Mathieu Amalric and Michel Vuillermoz) to keep him away, but Georges is determined that his new love for her will not be denied. Les Herbes Folles (aka Wild Grass) received its world premiere at the 2009 Cannes Film Festival.
AMG Review: Imagine, if you will, the following scenario. Marguerite (Sabine Azéma), a single, middle-aged female dentist in France, falls prey to a thief who swipes her handbag; her billfold subsequently turns up on the floor of a nearby parking garage. A passerby named Georges (André Dussollier) discovers the wallet; he's a vaguely intense, middle-aged husband, father, and grandfather. Glimpsing the stranger's photographs inside, he grows intrigued and enchanted, particularly when a pilot's license in the wallet reveals Marguerite's exotic hobby as an aviatrix. Georges turns the wallet over to the police, but when Marguerite phones Georges up to thank him, he asks to meet her. She refuses; he insists. And begins writing. And calling. And when those measures fail, he takes drastic action.
This constitutes the basic setup of Alain Resnais' Wild Grass. Anyone could take an easy stab at what happens next, at this or at any other stage of the story. They would almost certainly be wrong. Resnais deliberately and shamelessly sets up and then undercuts our genre and narrative expectations time and again. When we think the film is about to evolve into a thriller, it hearkens off in the direction of cockeyed romance. When we think the film is about to sprint toward a traditional romantic crescendo, it evolves into a dark drama of misaligned self-deceptions. And so on and so forth.
Resnais isn't interested in telling a conventional story here or even a completely coherent one -- he's interested in paying homage to the medium that has served him majestically over the past 50-plus years. As such, it should hardly come as a surprise that this film materialized in what is presumably the final decade of work by the Frenchman, who was 87 years old during the movie's production. Whether we have one or two additional Resnais films in the next ten years or Wild Grass ends up being his last, it clearly functions as an elegy to the medium, not unlike John Huston's The Dead or Robert Altman's A Prairie Home Companion. This works effortlessly in Resnais' hands, given his master's command of the medium; he defies all potential accusations of pretentiousness by girding everything in a giddy, effervescent playfulness that suggests a twinkle in one eye -- an old trickster delighting in tugging the story and characters first one way, then the other -- and keeping his finger squarely on the audience's emotional pulse and expectations the entire time.
The director fills the movie not simply with Brechtian alienation devices but with alienation devices that call our attention to cinema's ability to create and perpetuate myths for each viewer. The most obvious is a running voice-over by baritone-voiced Edouard Baer that recalls an identical trope in Todd Field's Little Children (2006) -- in the sense that it conveys the self-reflexive myths perceived by each of the two main characters, established as if they were in a conventional romantic novel with an inflated sense of their own destinies. At other times, Resnais hyper-literalizes the medium itself onscreen -- as with an iris-shot fade-out to Georges, standing alone at night outside of a neon cinema, or an impassioned kiss between two of the characters while the 20th Century Fox fanfare unfurls on the soundtrack and the title "Fin" (French for "The End") appears on the screen -- ten minutes prior to the actual conclusion of the movie. And still at other times, the director slyly reminds the audience just how little we actually know about these two characters in which we've grown "emotionally invested" -- as when Georges grossly betrays Marguerite on a romantic level and thus reveals a rather nasty side of himself that we haven't seen before, and Marguerite both intuitively acknowledges what happened and fails to even deliver much of a response. We're left gasping at the lack of fallout, and thus made more aware of the conventions of the medium and the ease with which film itself sets up our expectations from decades of clichéd moviemaking.
It wouldn't be spoiling any surprises to note that Resnais denies the audience a conventionally happy or otherwise emotionally satisfying ending; such a denouement, after all, would be drastically misaligned with the director's desire to subvert narrative conventions. What does emerge, however, is a potent verbal metaphor, both for cinema as a tool for the creation of myths, and for the self-perpetuated mythmaking of the characters, that gains more depth and resonance the more one reflects on it. This sequence will probably leave the vast majority of viewers inherently dissatisfied, perhaps even furious at Resnais' refusal to tie up his narrative threads into a neat little package. The irony, of course, is that this anger would be better directed at the hundreds or thousands of prior filmmakers whom Resnais is implicitly skewering, who conditioned viewers to think in conventional narrative patterns in the first place.
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Versión DVDRip VO+SE 699,95 Mb.
Publicada por norgen en FH.
Enlaces:Versión DVDRip VO+SE 699,95 Mb.
Publicada por norgen en FH.
Wild.Grass.2009.LiMiTED.DVDRip.XviD-NODLABS.avi 
wild.grass.2009.dvdrip.xvid-nodlabs.sample.avi wild.grass.2009.dvdrip.xvid-nodlabs.subs.rar wild.grass.2009.dvdrip.xvid-nodlabs.nfo Subtítulos (descarga directa): castellano / inglés.
(1) Adaptados por amoreira a partir de la traducción de scalisto.
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޲ŰŰ Ű Wild.Grass.2009.LiMiTED.DVDRip.XviD-NODLABS Ű Ű۲Ý
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޲ŰŰ Ű Ű Ű۲Ý
޲±Ű Ű Release date ...: October 2010 Ű Ű±˛Ý
޲ŰŰ Ű Theater Date....: USA, 27 June 2010 (5 Screens) Ű Ű۲Ý
޲ŰŰ Ű IMDB Rating.....: 6.7/10 (963 votes) Ű Ű۲Ý
ŰŰŰÝ Ű Duration .......: 01:44:04 Ű ŢŰŰŰ
Ű ŰŰ Video Format ...: XviD ŰŰ Ű
ŢŰŰŰ ŢŰ Video Bitrate ..: 795kbps ŰÝ ŰŰŰÝ
޲ŰŰ Ű Resolution .....: 640x272 Ű Ű۲Ý
޲ŰŰ Ű Frame Rate .....: 23.976fps Ű Ű۲Ý
޲°Ű Ű Language .......: French Ű Ű°˛Ý
޲°Ű Ű Subs ...........: English Ű Ű°˛Ý
޲±Ű Ű Audio ..........: MP3 133kbps Ű Ű±˛Ý
޲ŰŰ Ű Release size ...: 49x15mb Ű Ű۲Ý
ŰŰŰÝ Ű Source .........: DVD Region 1 Retail Ű ŢŰŰŰ
ŢŰŰŰ ŢŰ Genre ..........: Adventure | Family | Sci-Fi ŰÝ ŰŰŰÝCapturas:
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Versión DVDRip VO+SE 1,51 Gb.
Ripeo de scalisto, publicado en scalisto.blogspot y veinticuatrofps.
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Versión DVDRip VO+SE 1,51 Gb.
Ripeo de scalisto, publicado en scalisto.blogspot y veinticuatrofps.
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Traducción de scalisto.
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Francés/French | Subs: Castellano/English/Portugués
100 min | XviD 720x304 | 1723 kb/s | 448 kb/s AC3 | 25 fps
1,51 GB + 3% recuperación/recovery
Rip del DVD francés y subtítulos en castellano de un servidor (scalisto).Capturas:
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Filmografía Alain Resnais (Director)
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