Gerard-Depardieu Movie Reviews

A powerful drama of the French Revolution depicting how high-minded ideals become the victims of the flawed human beings who espouse them, only to subvert them. The movie gives you a strong sense of the squalor of the French masses in this Revolutionary era and is magnificently filmed. The dialogue (in French) is full of high-minded rhetoric and good intentions coupled with prescience of the limits of these ideals. The setting is around 1794, just after revolutionaries have executed Louis VXI and established the First Republic in France. In his characteristic larger-than-life manner, Gerard Depardieu masterfully portrays the namesake of this movie as a sympathetic, if somewhat eccentric, hero of the French Revolutionary, next to the severe performance by Polish actor Wojciech Pszoniak who plays Robespierre. Robespierre heads the Committee of Public Safety which pursues opponents to the Revolution with increasing vigor. Danton appeals to Robespierre to check the bloody Reign of Terror which follows the Revolution, only to find himself at the guillotine, ostensibly for treason. The encounter between these two lead characters over a dinner to which Robespierre is invited by Danton is one of the most splendid parts of the movie, bringing out the tremendous force of character as well as political clumsiness of Danton. In the prophetic words soulfully delivered by Depardieu, Danton declares that the Revolution is devouring its own children. The almost identical scenes at the beginning and at the end of the movie in which Robespierre's son is reciting the articles of the post-Revolution constitution of the First Republic are haunting. Some commentators have said that this is Polish director Andrzej Wadja's metaphor for the events of his native Poland where the Solidarity crisis was in full force when he made this film. This is a first-rate dramatic performance.

As another reviewer pointed out, this is probably the best film about the French Revolution and the fledgling Republic of France. It gives you great detail on the characters behind the Revolution itself and the biggest surprise to me, just how close they actually came to regressing and or becoming a dictatorship.

Gerard Depardieu is phenomenal. If you only remember him from "Green Card" forget that...that is not representational of how fantastic of an actor he is. I have seen other French films with him in it but I think this is his finest performance.

If you like historical or costume dramas, you cannot go wrong with this one.

Cheeers

This is probably the finest movie ever done concerning the French revolution and its anarchic aftermath. Everything is just accomplished so well, the acting, the story, the dialogue and historical accuracy are just amazing. For fans of French history, it is an amazing treat, while to the regular movie buff, it is a memorable cinema experience.

The story of Danton takes place in what is known in French history as the Terror. Following the overthrow and execution of King Louis XVI, groups of revolutionaries formed various councils and committees, such as the infamous Committee for Public Safety in Paris. Although started with good intentions, the Committees soon became harsh instruments of brutal tyranny and social control. Their power soon reached the levels of dictators, and the their most powerful committee leader was Robespierre. A puritanical revolutionary, he believed any dissent was a direct threat to the revolution. As he became more power hungry, his old comrades began to turn against him. Robespierre used any means necessary to stamp out dissent, including the famous guillotine. However, powerful sources soon turned against him, such as Danton, the peoples favorite. Danton was the polar opposite of Robespierre, a wild and vivacious revolutionary who valued all the good in life. The two clashed numerous times, until, as the movie shows, Robespierre descends into madness, lashing out at anyone who questions him. This leads to disaster for Danton, and for the Republic.

This movie delivers on all levels. The beauty and darkness of terror era France are portrayed vividly, with director Andrzej Wajda filling the screen with historic finery. The characters, especially Robespierre and Danton are exquisitely detailed, with actors Gerald Depardieu and Wojciech Pszoniak delivering powerful performances. The tension and drama builds, culminating in the wonderful courtroom scenes. The movie delivers a powerful message of human freedom and bravery in the face of official repression.

Fed up with his father getting on his case, Tristan Martin, age sixteen-and-a-half and a dead ringer for someone in Menudo, has run away from his home in Paris, accompanied by Shannon Doherty-lookalike Michele Raffart, to Nice. His parents, Paul and Carol, report his disappearance to the police, who don't seem to care. It's like a stolen car-the question is, when will it turn up? A visit to Michele's rough-speaking father yields nothing.

Fed up with her husband's weakness in handling the situation, Carol turns to an ex-beau from seventeen years before, Jean Lucas, a journalist whose book hinted at a connection between a prominent French senator and Rossi, the gambling kingpin of the Riviera. She tells him that Tristan is actually his son so she can get his help. He refuses because he doesn't buy her story or motives, so Carol turns to Francois Pignon, a former schoolteacher and depressive who being the romantic idealist that he is, is only so glad to be reunited with his son. "I've no job, my wife has left me, I live with my mother and hate it. I've no plans, no future, everything is scr---d up... great, isn't it?" Things get really cockeyed when Jean changes his mind, with Carol and Francois none the wiser. Jean is planning a sequel on his book, which could lead to his boss sending him a wreath.

Through circumstances, Jean and Francois are united in their perceived common quest, and we see the differences in their personalities straight off. Even before they meet Tristan or realize the connection between them, the adventurous Jean envisions Tristan as someone like himself, a little brute, strong as an ox, and a fighter, while the nurturing Francois sees Tristan as a dreamer, moody, alienated, writing poetry. Also, Jean is tough, which comes in handy when they get in trouble with the leather-clad bikers Tristan hangs out with. Francois, having just suffered a breakdown, has tendencies to cry for no apparent reason. They go to Nice in Jean's snazzy-looking BMW, at least snazzy for a while. Hint--what else does BMW stand for? And where Jean goes, trouble follows, in the form of two toughs sent by Rossi to intimidate, and later, to kill him.

One of the main things to come out of this story is that, as Francois and Jean, the latter whose fathering attitude towards Tristan comes and goes, learn, is that fatherhood must be earned. That's something that Paul, Tristan's father should have learned. His defense that he cared for him well and gave him all he wanted, well, doesn't cut the surface. There's understanding as well. And as for Tristan, he's not a bad kid, just a teenager undergoing growing pains who needed a stronger sense of understanding from his parents, and the right sort of understanding, which comes from Jean and Francois, who actually take a caring interest in him. His outing proves to develop his character.

Having seen this road trip comedy three times in one year, I can say right now it's one of my favourite French films of all time. Gerard Depardieu (Jean) is still the solid, tall, handsome box office draw that he was in France, and I feel an affinity towards curly-haired Pierre Richard (Francois), best known as "the tall blond man with one black shoe" Having seen this, I'd have wanted a father like Francois, caring, emotional, someone with feeling even if a bit too melodramatic.

Gerard Derpardieu and Pierre Richard are magic together. This film is even funnier than when they teamed up in "La chevre". There is a good reason why hollywood tried to remake this very popular film for American audiences. However, the American remake can't hold a candle to this French original.
Pierre plays the bumbling unaware despressive to comic perfection while Gerard's tough no nonsense character provides the perfect contrast resulting in a sensational comedy duo. The mismatched characters pair up to try to find a runnaway boy in hopes of finding out which of them is the rightful father. The humour lasts throughout the film and is great for adults and kids alike. This film is a classic and is known by all in France. It is a must see!

When I first watched this film here in The Netherlands,
I thought it would just be one of those run-of-the-mill
typical overexploited tear-jerkers which you might choose
to watch if there was nothing else on television and you
have a boring long weekend ahead and nowhere to go. After
just five minutes, however, I was totally riveted.

The situation of a ex-hippy-type mom, properly married now,
whose teenage son ran away from home, may not be all that new,
but the manner which she uses to find him is comically unique.
She contacts two ex-lovers (from the hippy period of her life,
you understand), tells them, during separate lunches, that the
boy is theirs, and in this way inspires both of them to help her
locate him. As both men are childless, both suddenly begin to
entertain ideas of fatherhood, and imagine the pride they would
feel once the boy is found. Since two heads are better than one,
they decide to conduct the search together. The fact that they
are looking for the same boy creates some tension for a while,
but not enough to dispel the comedy of the situation, a kind of
modern "comedy of errors", if you will. In keeping with the mood
of the film, the boy, in the end, tells both men, again during
separate conversations, that both of them make the perfect
father. The problem is resolved for all sides - dad, mom, boy,
ex-lovers - a kind of "as you like it" scenario. "All is well
that ends well", and if there is anything we learn, it is that
there is indeed more than one way to skin a cat, and that if you
have to solve a problem, you might as well have fun on the way.

The film is light and entertaining, an approach which we might
think of applying to the business of ordinary life, which, if
viewed from another angle, might not be all that heavy after all.
It's a cry, a laugh, a sigh and a scream all in one.

Adjani is able to take the tyrannical, childish Claudel and portray her with not only intrigue but passion, allowing the viewer to overlook Claudel's whistful predicament. Adjani takes the audience wholeheartedly into Claudel's mind, heart, art, and world with complete empathy. Her portrayal of the sculptress gives great meaning and understanding to the behaviors that proved to be Claude's own undoing.

With Adjani depressed and laying in a flooded apartment the audience has a desire to help her, rescue her, but if it were Claudel we'd most likely keep moving because of her pitifulness. Much of that credit goes to Adjani's beauty as well, not just her talent.

Claudel was never as beautiful as Adjani, sorry, tis true, and Claudel should thank Adjani for using her beauty to highlight her life and draw attention to her works so that they could possibly one day finally be included in Art History texts properly. Because of this film we are able to begin to scratch the surface of the magnitude of the contribution of Claudel's sculptures in relation to the Impressionistic era as a whole. Although dead, she is clearly nudging her way into the art timeline and taking her rightful post.

Good French film, a must have for art history buffs and small film lovers.

I saw the movie when it first came out. I was then a high school student. We went to one of the most appropriate movie theaters for this movie. The movie theater was in the old European town of Galata (Istanbul). The theater was well over hundred years old and had an inverted half dome shape. I remember being very much touched with the sensuality of the movie. Years has passed and I still can not forget how bewitched I was by the realism of the movie.

If there's one drawback in this movie is that Adjani is so beautiful that her natural beauty becomes a focusing point. Her performance may be the best I have seen. The passion and the portrayed spirit of Camille Claudel are so vivid through Adjani's performance. A true work of art. I was not sure about buying this movie but now I am glad I have it and can watch it again.

This is a really stirring portrayal of an underappreciated French sculptress named Camille Claudel. This student of Rodin had a passion and brilliance all her own. This film provides a good overview of her development as an artist and her relationship with August Rodin. Rodin is flawlessly portrayed by Gerald Depardieu. Camille Claudel is played by the hauntingly beautiful Isabelle Adjani. Their relationship transcends teacher-student and they become lovers. This, of course, is scandalous even by French standards. The film tends to be sympathetic (and justly so) to Claudel as she struggles to emerge with her own artistic identity and balance her love for an increasingly jealous Rodin. It is tragic to view the obstacles faced by this gifted young woman but it is also inspiring that she continued to follow the muse in spite of any obstacle.

The true story about the French sculptor, Camille Claudel.

It is about how she became a sculptor in the late 1800s in France. She met August Rodin and began a very long affair. Their relationship ends and how her life turns down a completely different path.

This movie was so good, that I had to read the book from which this movie was based on.

Isabelle Adjani plays an excellent Camille Claudel! As does Gerard Depardieu in the role of Auguste Rodin.

(...)

Adjani is able to take the tyrannical, childish Claudel and portray her with not only intrigue but passion, allowing the viewer to overlook Claudel's whistful predicament. Adjani takes the audience wholeheartedly into Claudel's mind, heart, art, and world with complete empathy. Her portrayal of the sculptress gives great meaning and understanding to the behaviors that proved to be Claude's own undoing.

With Adjani depressed and laying in a flooded apartment the audience has a desire to help her, rescue her, but if it were Claudel we'd most likely keep moving because of her pitifulness. Much of that credit goes to Adjani's beauty as well, not just her talent.

Claudel was never as beautiful as Adjani, sorry, tis true, and Claudel should thank Adjani for using her beauty to highlight her life and draw attention to her works so that they could possibly one day finally be included in Art History texts properly. Because of this film we are able to begin to scratch the surface of the magnitude of the contribution of Claudel's sculptures in relation to the Impressionistic era as a whole. Although dead, she is clearly nudging her way into the art timeline and taking her rightful post.

Good French film, a must have for art history buffs and small film lovers.

and watch Cyrano de Bergerac. I was a French major in university, and am not a fan of any of the "classics" in any language. But this film made me run out and read the play -- in French -- three times. I did a special senior project on the film and the written play ... Depardieu's training in stage plays comes through strong in this movie, and so does his passion as well as the passion of the author who wrote the original play. Depardieu's massive energy in this role as Cyrano serves only to accentuate the beautiful words he uses to express his love for Roxanne. Beautifully acted, beautifully filmed, you'll never see Depardieu the same again.

This is a movie about honor, unrequited love and the best swordsman in all of France.

It is set in Rennaissance France and concerns the love that Cyrano de Bergerac holds for the lovely Roxanne, and the love she bears for Christian, a soldier in his troupe. Roxanne asks Cyrano to help her begin a relationship with Christian, and out of love Cyrano promises to speak to Christian, who enlists Cyrano's aid to woo Roxanne. Cyrano helps Christian by writing beautiful letters. The lovers tale plays out, even as they are surrounded by intrigue, threat of war, and some great swashbuckling action.

Edmond Rostand wrote an incredible tale of honor and this version starring Gerard Depardieu is one of the best presentations of the tale I've seen. Depardieu makes the tragic/heroic character of Cyrano so real that you feel you've lived the story by the end.

How much longer do we (the people who wore the VHS out watching it sooo many times) need to wait to buy this title on DVD. I've seen it a hundred times already, and I never get tired of it; it'is a masterpiece, the "chef d'oeuvre" of French cinematography. Like Gérard Dépardieu himself once said: everyone of us is a Cyrano, even the children, all those who once fell in love without being loved in return. I also identify myself with Cyrano because of his hunger for freedom. No one who has seen this movie has walked away indifferent to its power. I highly recommend it...the more I watched it, the more new details I found that make it the best. Et pour ceux qui parlent français, n'est-ce pas une chanson à l'oreille ?

and watch Cyrano de Bergerac. I was a French major in university, and am not a fan of any of the "classics" in any language. But this film made me run out and read the play -- in French -- three times. I did a special senior project on the film and the written play ... Depardieu's training in stage plays comes through strong in this movie, and so does his passion as well as the passion of the author who wrote the original play. Depardieu's massive energy in this role as Cyrano serves only to accentuate the beautiful words he uses to express his love for Roxanne. Beautifully acted, beautifully filmed, you'll never see Depardieu the same again.

This is a movie about honor, unrequited love and the best swordsman in all of France.

It is set in Rennaissance France and concerns the love that Cyrano de Bergerac holds for the lovely Roxanne, and the love she bears for Christian, a soldier in his troupe. Roxanne asks Cyrano to help her begin a relationship with Christian, and out of love Cyrano promises to speak to Christian, who enlists Cyrano's aid to woo Roxanne. Cyrano helps Christian by writing beautiful letters. The lovers tale plays out, even as they are surrounded by intrigue, threat of war, and some great swashbuckling action.

Edmond Rostand wrote an incredible tale of honor and this version starring Gerard Depardieu is one of the best presentations of the tale I've seen. Depardieu makes the tragic/heroic character of Cyrano so real that you feel you've lived the story by the end.

How much longer do we (the people who wore the VHS out watching it sooo many times) need to wait to buy this title on DVD. I've seen it a hundred times already, and I never get tired of it; it'is a masterpiece, the "chef d'oeuvre" of French cinematography. Like Gérard Dépardieu himself once said: everyone of us is a Cyrano, even the children, all those who once fell in love without being loved in return. I also identify myself with Cyrano because of his hunger for freedom. No one who has seen this movie has walked away indifferent to its power. I highly recommend it...the more I watched it, the more new details I found that make it the best. Et pour ceux qui parlent français, n'est-ce pas une chanson à l'oreille ?

and watch Cyrano de Bergerac. I was a French major in university, and am not a fan of any of the "classics" in any language. But this film made me run out and read the play -- in French -- three times. I did a special senior project on the film and the written play ... Depardieu's training in stage plays comes through strong in this movie, and so does his passion as well as the passion of the author who wrote the original play. Depardieu's massive energy in this role as Cyrano serves only to accentuate the beautiful words he uses to express his love for Roxanne. Beautifully acted, beautifully filmed, you'll never see Depardieu the same again.

This is a movie about honor, unrequited love and the best swordsman in all of France.

It is set in Rennaissance France and concerns the love that Cyrano de Bergerac holds for the lovely Roxanne, and the love she bears for Christian, a soldier in his troupe. Roxanne asks Cyrano to help her begin a relationship with Christian, and out of love Cyrano promises to speak to Christian, who enlists Cyrano's aid to woo Roxanne. Cyrano helps Christian by writing beautiful letters. The lovers tale plays out, even as they are surrounded by intrigue, threat of war, and some great swashbuckling action.

Edmond Rostand wrote an incredible tale of honor and this version starring Gerard Depardieu is one of the best presentations of the tale I've seen. Depardieu makes the tragic/heroic character of Cyrano so real that you feel you've lived the story by the end.

How much longer do we (the people who wore the VHS out watching it sooo many times) need to wait to buy this title on DVD. I've seen it a hundred times already, and I never get tired of it; it'is a masterpiece, the "chef d'oeuvre" of French cinematography. Like Gérard Dépardieu himself once said: everyone of us is a Cyrano, even the children, all those who once fell in love without being loved in return. I also identify myself with Cyrano because of his hunger for freedom. No one who has seen this movie has walked away indifferent to its power. I highly recommend it...the more I watched it, the more new details I found that make it the best. Et pour ceux qui parlent français, n'est-ce pas une chanson à l'oreille ?

I have seen countless movies and read countless books, and not once I have ever been compelled to write any sort of review for any of them. However, as you may have noticed I have made an exception for this movie, it is a testament to how great I think this movie is.

First of all I urgue you not to read the reviews of this film that give away the ending unless you have already seen the film.

The premise is that a reclusive Author Onof ( Gerad Depardieu ), is being interogated by an unnamed detective ( Roman Polanski) as a possible murder suspect. Through a series of questions the detective finds out Onofs identity as one of the most famous French Authors, in fact, he himself is a huge fan.
THe sequences of events that follow are bizzare, yet wonderfull. The language is pure poetry. And technically speaking the Cinematography and lighting are simply gorgeous.

A bulk of the movie is centered around the Detective questioning Onof, and during this time we learn about his life. These little stories make for some great humanistic moments.

While I dont want to reveal too much, the ending ties in everything, all the loose ends. However, the ending is more than simply that, it has to simply be seen to be appreciated.

My only wish would be that this movie is transfered to DVD. Please someone get this movie transfered to DVD, and with a ton of special features. Even if it has to be Criterion, please make the DVD!!!!!!!!!

I will try to explain in my best english ( I am a french speaking person) the "unreal" issue of the movie "A pure Formality" with Gerard Depardieu and Roman Polansky. It's quite subtle but here what I understood of this story. Onoff is dead. He commit suicide (as we saw him do it) But before he can rest in peace, he has to remember and explain his acts and by the way his life and his identity to the inspector (an allegory for the gardian of The Heavens or any place you think we go after life..). Everything in this story takes place in the afterlife (except for the souvenirs of Onoff - is he On or off ?) . In this film, nobody is real. That's why everything is so strange. That's why the voice of Onoff cannot reach the woman he called at the end. I hope this answer will enlight some of you. .......Jean-Luc Meloche

Without giving it away, I'd just like to say this is a brilliantly constructed film in all aspects from the acting, to the lighting, and especially to the storyline.

The reward comes as the dawn approaches and the pieces of the story fall into place! A great film!

After seeing ALL THE MORNINGS OF THE WORLD / EACH DAY DAWNS BUT ONCE a number of times, I discovered its unexpected message: "Listen!" Freed by repetition from concern with a complex plot, I was able to witness key scenes I'd hardly noticed before and to find they carry central meaning for this subtly powerful art work. I had noticed the first time I saw TOUS LE MATINS DU MOND that for the master musician his music was a rigorously pursued meditative practice...ruthless to the exclusion of all else. But it's all there, spelled out as methodically as a "Shin-mondo": a zen teaching story. As in the scene where the master takes his pupil to the studio-home of his [only?] friend, the painter. They sit, silent except for the touch of wine to cup, as across the spacious room the painter paints. The master gropes for words to convey his wordless knowing. He says, "Listen to the sound of the brush." 'Painter stops and [irritably]: "What are you mumbling about?" Master: "I was telling him that your brush is to you as my bow is to me." Painter: "WORDS! Only words!" It's in scene after scene [they take several walks where the student is probed to listen to sounds...wind, night, ...to hear the sound itself.] And this life of searching and communion is juxtaposed--as it would have been in Japan of the same period-- against the opulent distractions of an imperial court. Sound...sumptuous or subtle...permeates all levels of this masterpiece, and is wonderfully augmented by Vermeer-like cinematography. This is one to own.

This haunting story is based on the historical relationship between Marain Marais and this teacher St Columbo, two of the most renown gambists of all time (the gamba is a stringed, fretted instrument, popular in the 1700's, which looks something like a cello).

St. Columbo (his first name is unknown) is an extremely dark and complex person, "all passion and rage yet mute as a fish". When his beautiful young wife dies unexpectedly he retreats from the world, devoting his life to his instrument and his art. Although recognized as the finest gambist in France, he becomes a recluse, defying even the king's order to play at the royal court.

What is the meaning of music? Is it to impress one's rivals? To entertain? For gold? No, says the master, none of these. And one who makes music is not necessarily a musician. The young Marais, who has become his student, struggles to fathom its meaning. . Great attention is paid to details and authenticity. The viewer is given glimpses of the lavish court of France in the 1700's, the decadence of the privileged, and immersed in a sound track of Marais' exquisite French baroque music performed by virtuoso players.

There is a love interest between Marais and Columbo's eldest daughter (also an accomplished gambist), which, although almost incidental to the plot, allows the film to be billed as a passionate love story. Other than a few graphic moments, however, All the Mornings of the World is a story of the love of music, rather than carnal love

All the Mornings is a must-see for people with artistic inclinations. Those who love baroque music (1600-1750) will definitely want to order this film. And if you should happen to play the viola da gamba you have no choice but to purchase it (sheet music for much of the sound track is available in a collection from the Boulder Early Music Shop, if you feel adventuresome).

For the esoteric viewer, All the Mornings rates five stars.

When will we have a DVD version in widescreen format of this beautiful film?
This film is NOT for those that are uncapable of appreciating beauty or baroque music. For them, the film can be a pretty boring experience.
Of course, the concept of "beauty" is absolutely relative. Perhaps there is no beauty at all in the universe, and it may possibly be just a "mental construct" of acceptable and harmless and divine (or holy) "vice", but vice after all. Anyway, orgasms and baroque music are just beautiful! And so is this film!

Although this is a long slow film, it is nevertheless worth a look for its competent portrayal of life in a mining community in northern France in the 1800s (and which has definite parallels with similar lives then being lived in other communities, on both sides of the Atlantic). Claude Berri is a superb director and it is to him we owe the continuity in what could otherwise have been a ponderous film, lost in its own blackness and despair. Certainly there is plenty of coal dust about and the grime is intended to remind us not only of the harshness of the lives being led only a bare 100 years ago, but also of our own ability to work today, without raising much of a sweat. Gérard Depardieu lends incredible strength to any film and this one benefits greatly by his presence; so much so in fact, that at the moment he leaves the scene, the film immediately falters.

If there was a technical fault with this production, then for me it was the move it made from the general to the particular. While setting out to be a social document about the fight of the workers for better living conditions (and hence an emulation of Émile Zola's novel), in the latter stages it became too concerned with an actual event: the imprisonment of miners after a tunnel collapse. This didn't work for me at all, since it made the film fragmentary and incoherent. Yet overall, the film achieves its purpose and the personal drama that I didn't particularly care for may well appeal to other viewers. Claude Berri has created a number of other very fine films, including the unforgettable "Jean de Florette" and "Manon des sources," and hopefully "Germinal" will encourage you to seek them out.

Based on the diary of Lucie Aubrac, "Outwitting the Gestapo," published in the U.S. in 1992, the movie is respectful of the stirring and inspiring text, the characters and the context of the occupation and the French Resistance. The story is necessarily condensed for screentime but retains the spirt of the author, an incredibly courageous and intelligent woman. The movie should encourage viewers to read her inspiring and gripping story. Excellent, convincing portrals of the Aubracs by Carole Bouquet and Daniel Auteuil, and by the rest of the cast.
A quote from Lucie Aubrac at the end states that she agreed to her name for the movie based on Claude Berri's support of the Resistance Foundation.

Like Claud Berri's other films, including "Jean de Fleurette" and "Manon des Sources", this superb movie combines masterful storytelling and direction with superb acting. Although set in the past, the story, rich in human detail, resonates today through it's examination of basic human nature and socio-economic injustice. By portraying the complexities of the plight of poor french coal miners, "Germinal" becomes a poignant reminder of the systems of exploitation under which much of the world still toils. Kathy Lee Gifford should have watched this movie before investing in her sweatshops! Berri sheds a telling light on the intricate webs of human relations and social institutions of the France of Emile Zola. He spares no one but, while allowing all sides to present their side of the story, ends up clearly siding with the poor miners who toil, suffer, and die in the mines for wages that barely allow them to eat. The main characters come to life through superb acting, and, despite their often violent and desparate acts, they earn our sympathy. Berri finds beauty everywhere despite the suffering, and uses Zola's novel to show us that we must never give up hope. The gorgeous cinematography contributes to the remarkable re-creation of an entire world, in rich detail. The film is often beautiful to look at, but also manages to realistically portray the ugly side of poverty and exploitation. As with all great works of art, this film reminds us that justice can only be achieved through courage, dedication, and eternal vigilance. At time when so many of the rights gained at the expense of human life are being threatened, "Germinal" can serve as an inspiration to further struggles.