Ayer jueves tuve oportunidad de disfrutar la premier de esta pelicula, gracias al programa de radio cinefilia que se transmite en la estacion de radio XEJB del gobierno del estado de Jalisco el programa es lunes miercoles y viernes a la 1:00 pm y generalmente tienen boletos de cortesia
la pelicula muy buena apartir de hoy en cartelera en mucho comlejos de cines de los centros comerciales
A Playwright in Prison, in Love and in Ruffles
Jean-Baptiste Poquelin, better known as Molière, wrote more than 30 plays, every one of them a hundred times more witty and insightful than “Molière,” Laurent Tirard’s new puffy-shirt-and-quill-pen movie. Perhaps I am applying an unfair standard, since the lives of great dramatists should not be expected to supply great drama. But surely Mr. Tirard, a graduate of New York University’s film school, might have learned something from Molière about how to organize a plot or set up a gag.
I mean, come on. The man, played here by a dour and nervous-looking Romain Duris, wrote some of the most durable and perfect works of comic literature ever produced in the West: plays that, like Shakespeare’s, remain eternally fresh and alive. “Molière,” in contrast, seems designed for immediate obsolescence. It takes place in that familiar movie era in which bosoms are always heaving and people don’t just laugh, they lau-HA-HA-HA-HA-HA-HA-HAF much harder and longer than the joke would seem to merit.
The audience is unlikely to have the same problem. Mr. Duris, so brutally charismatic in “The Beat That My Heart Skipped,” here finds himself stuck in a confused idea of his character, who wobbles between tormented genius and mischievous rake. Mr. Duris, hairy and snaggletoothed, has the look of a man stricken less by passion or inspiration than by indigestion. The story flashes back from the late 1650s, when Molière and his troupe arrive in Paris after many successful years touring the provinces and he begins writing the plays that will secure his immortality. The film’s conceit is that the genesis of those plays can be traced back to 1644, the year Molière was imprisoned for debt.
In Mr. Tirard’s version of events, Molière finds himself, disguised as a priest and bearing the pseudonym Tartuffe, in the household of one M. Jourdain (Fabrice Luchini) and, eventually, in the favor of Mme. Jourdain (Laura Morante). Many years later, of course, M. Jourdain would be the social-climbing protagonist of “Le Bourgeois Gentilhomme” and Tartuffe would be the trickster hero of “Tartuffe.” Molière also encounters a salon dominated by Celimene (Ludivine Sagnier), a cruelly witty lady of the kind he would satirize as a “précieuse” in more than a few of his plays.
Like “Shakespeare in Love,” to which it begs to be compared, “Molière” entertains the fundamentally bogus and anti-literary — but somehow irresistible — idea that the great writers of the past wrote what they knew. Both films posit a secret love affair as the biographical key to unlock the mystery of how an ordinary hack became a world-bestriding genius. There is no doubt that one of Molière’s innovations was to add an element of satirical realism to traditional farce, but Mr. Tirard’s depiction of the playwright’s inspiration — there really was a pretentious rich guy named Jourdain! — is both literal-minded and sentimental.
Less forgivably, the movie is dull. It comes to life intermittently, when Mr. Luchini, Ms. Sagnier or Edouard Baer (as Mr. Jourdain’s duplicitous friend, Dorante) are on screen. Like any French actor with stage experience, they have no doubt been thoroughly schooled in Molière. They could play these parts in their sleep. Or, as may be the case with “Molière,” in yours.
“Molière” is rated PG-13 (Parents strongly cautioned). There are intimations of adulterous sex. Also heaving bosoms.