Reviews

An interesting alternative to Spielberg's Tintin. This adaption of a French graphic novel compares in many ways. Besson uses actors to represent comic book characters rather than the far more expensive motion-captured, computer-generated people of Tintin.

That's not to say there aren't extensive visual effects in Adèle. CGI portrays impossible characters, like the pterodactyl. Digital compositing is used to present Paris and Egypt of a hundred years ago. And for the more grotesque and bizarre human characters, there are elaborate prosthetic make-ups.

Adèle is on a trip to Peru to complete her latest book. That's what her publisher thinks. She's actually in Egypt raiding tombs. Why has she lied, and what has this to do with a pterodactyl terrorising Paris? The police can't believe that a prehistoric animal has killed a senior politician, they need to solve the case fast, no matter how much Adèle gets in their way...

Like the Tintin stories, there's a detailed and realistic presentation of the past, but with more magical and fantasy elements. Like Tintin, Adèle is also a writer, giving her the opportunity to travel. Similarly, her only real advantages are knowledge, contacts and personality - she doesn't bow to convention. It may not be ladylike to ride a camel, but if she needs to learn, she will. With a burning desire to succeed, she overcomes the odds with little more than an umbrella and a bag of bird seed...

As a newcomer to the stories, I loved the completely unpredictable nature of the story, and it's always nice to see a guillotine in action... This wasn't as consistently funny as it wanted to be, but maybe I was missing out on the Frenchier in-jokes. It could almost be a family film, though some of the more intense drama and some casual nudity might not be for younger viewers.

Luc Besson has mentioned that this story was a childhood favourite of his. He spent many years gaining the trust of the author, Jacques Tardi, who'd already dealt with three film studios trying to adapt the story. While this isn't as dark or as adult as many of Besson's earlier films, I think that's because he's committed himself to being as faithful to the original story as possible. While more likely to be the producer nowadays, after writing the script he couldn't allow another director make this one.

I haven't read any of the original stories yet, but I will. Actress Louise Bourgoin is far more beautiful than the grumpy character in the comics. The first two stories (which combined to form the basis for the film) have been translated into English as one volume.

Mark Hodgson (Black Hole Reviews)

The Double Man beat much of the competition into the Alps, when movies were helping to glamorise skiing holidays. While The Pink Panther had a ski lodge segment, The Double Man anticipates the cable car action and snowy settings of Where Eagles Dare and On Her Majesty's Secret Service. Interesting to note that the director would soon be working on the iconic Planet Of The Apes.

Added to the admirable location work are the international cast. There are no stars besides Yul Brynner, but there are several actors I have a lot of time for. Clive Revill in particular adds a solid emotional punching bag for Brynner. His intense and downbeat performance is in contrast to his usual extroverted and comedy roles. Anton Diffring was too often cast as Nazi baddies, but could easily deliver menace without a uniform. He starred in several classic horror films of the period, like Circus of Horrors and The Man Who Cheated Death. A young Britt Ekland amply provides glamour here, before she broke it big as a Bond girl.

I grew up watching this movie on TV and always tuned in for the cast, the twisty plot and especially the music. It's a little OTT in places but frantically catchy, pumping up the excitement even when there's little of it on screen. The special effects work is subtle and really convincing in selling the central twist...

I'm very pleased to see that at least this is out now on DVD in Germany, with an English language voice track option.

Not since HAPPINESS has such a difficult subject been tackled head on! Without spoiling any of the film, I will just say that I was engrossed in the film, shocked at how far the director was able to go, and heartened by how many issues he was able to raise, and show so many possible effects of what the characters go through. There were so many situations in this film that I had never seen portrayed before, that this proves how much film-makers avoid so many issues.

A familiar, likable cast are taken deep into dark territory. I enjoyed all the performances and believed the characters, even though I had seen all the actors before on TV. The music is just wonderful - from the guy behind The Cocteau Twins - it adds to the dreamlike/nightmarish quality of the film. It's unusual enough to add to the uniqueness of this film - it really is ground-breaking - and Robin Guthrie's music/The Cocteau Twins haven't been used before in movies (though you may have recognised Liz Fraser's vocals in the last Lord of the Rings soundtrack).

This film impressed me the most in 2004 - I hope everyone gets a chance to see it!