Frantz has a 1919 setting alias a year after World War I ends, is a free adaptation of the theater script of L'homme queue j'ai tué by Maurice Rostand also the English version which was staged in 1930 and 1931, also an "accidental remake "for the 1932 film release, Broken Lullaby François Ozone was unaware of the existence of Ernst Lubitsch's film when he made Frantz based on the two performances. In short, this movie is a story of the past. Nevertheless, the distance tens of years apparently not a gap. Frantz actually represents the worrisome condition when xenophobia dominates the world community now.
Quedlinburg, Germany, 1919. Anna (Paula Beer) loses her fiance, Frantz (Anton von Lucke) on the battlefield. Now he lives in the homes of Frantz's parents, together trying to get out of grief. Up came Adrien (Pierre Niney), a former French soldier who claims to be Frantz's best friend from Paris. Adrien regularly leaves flowers at Frantz's tomb and then visits his family's home. Although Frantz's father, Doctor Hoffmeister (Ernst Stötzner) hates himself as many of the elderly people in Germany feel that the French are killing their son in the war not so with his mother, Magda (Marie Gruber) and Anna who welcomes Adrien kindly, invites him to the house.
Hoffmeister's initial attitude, then the protests of his colleagues in the bar when he finds the Doctor's softening on Adrien, despite World War I contexts, is in fact so close to the social conditions of today's society. The proximity of fruitful bonding to witnessing the various events that arise, because as we know, the hatred of "foreigners" is attacking the whole world (based on religion in Indonesia, white supremacy in America, and others). Through his manuscript, Ozone and Philippe Piazzo upheld the human side based on the memories and relationships of the characters with Frantz.
Talking about humanism related to automatic warfare raises the anti-war feeling that in this film is positioned gently behind the attitude of the character. Ozone was not loud enough to be more aggressive against the war, but he invited the audience to understand, contemplate other perspectives. The best example lies in the Doctor Hoffmeister's monologue on the irony of a celebration of the victory of war among a stack of deaths. For Ozone, no matter what happens during the war, death remains death, bringing loss and sorrow to the abandoned, not the flu-heroism based on the spirit of nationalism. Representing this idea is often the painting of Le Suicidé by Edouard Manet discussed. By Manet, the painting is so overflowing the expression that death in art is not merely about sacrifice or heroism. Death is death.
It was also the goal of two moments when Adrien heard Germans singing Deutschlandlied, while Anna in France was caught in the spirit of the people around La Marseillaise. Anthems when / post-war usually presents a rumbling sense of nationalism's thick struggle. But here it is awkwardness mixed with pain that feels. Imagine being an Adriane, wounded by war, hearing the verse "Germany above all, Above all in the world," or as Anna, found "The Roots of those ferocious soldiers." To cut the throats of your sons, your women "sung after her beloved lover dying from the whistle of a bullet. And both experience it in a place where they are viewed hatefully due to citizenship status.
Speaking of white lie brought Frantz to a series of surprises about the secrets of the characters, especially those covered by their lies. It will not be a shocking secret if you are observant to observe the character movements. Yet the twisty dish is not the main objective of François Ozone, but the drama surrounding souls seeking peace, trying to walk away from past grief. Frantz presented melancholy, a black-and-white visual style that occasionally coloured when the flashback, or rather when the happiness of the beautiful memory of the beloved figure entered his character. The stories are mutually reinforcing between humans to get rid of the tendency of suicidal tendencies that are strung together elegantly, as Pascal Marti's cinematographer slowly moves his camera.
RATING (8/10)
Don't forget, give your feedback in the comment section
Don't forget, give your feedback in the comment section
Frantz has a 1919 setting alias a year after World War I ends, is a free adaptation of the theater script of L'homme queue j'ai tué by Maurice Rostand also the English version which was staged in 1930 and 1931, also an "accidental remake "for the 1932 film release, Broken Lullaby François Ozone was unaware of the existence of Ernst Lubitsch's film when he made Frantz based on the two performances. In short, this movie is a story of the past. Nevertheless, the distance tens of years apparently not a gap. Frantz actually represents the worrisome condition when xenophobia dominates the world community now.
Quedlinburg, Germany, 1919. Anna (Paula Beer) loses her fiance, Frantz (Anton von Lucke) on the battlefield. Now he lives in the homes of Frantz's parents, together trying to get out of grief. Up came Adrien (Pierre Niney), a former French soldier who claims to be Frantz's best friend from Paris. Adrien regularly leaves flowers at Frantz's tomb and then visits his family's home. Although Frantz's father, Doctor Hoffmeister (Ernst Stötzner) hates himself as many of the elderly people in Germany feel that the French are killing their son in the war not so with his mother, Magda (Marie Gruber) and Anna who welcomes Adrien kindly, invites him to the house.
Hoffmeister's initial attitude, then the protests of his colleagues in the bar when he finds the Doctor's softening on Adrien, despite World War I contexts, is in fact so close to the social conditions of today's society. The proximity of fruitful bonding to witnessing the various events that arise, because as we know, the hatred of "foreigners" is attacking the whole world (based on religion in Indonesia, white supremacy in America, and others). Through his manuscript, Ozone and Philippe Piazzo upheld the human side based on the memories and relationships of the characters with Frantz.
Talking about humanism related to automatic warfare raises the anti-war feeling that in this film is positioned gently behind the attitude of the character. Ozone was not loud enough to be more aggressive against the war, but he invited the audience to understand, contemplate other perspectives. The best example lies in the Doctor Hoffmeister's monologue on the irony of a celebration of the victory of war among a stack of deaths. For Ozone, no matter what happens during the war, death remains death, bringing loss and sorrow to the abandoned, not the flu-heroism based on the spirit of nationalism. Representing this idea is often the painting of Le Suicidé by Edouard Manet discussed. By Manet, the painting is so overflowing the expression that death in art is not merely about sacrifice or heroism. Death is death.
It was also the goal of two moments when Adrien heard Germans singing Deutschlandlied, while Anna in France was caught in the spirit of the people around La Marseillaise. Anthems when / post-war usually presents a rumbling sense of nationalism's thick struggle. But here it is awkwardness mixed with pain that feels. Imagine being an Adriane, wounded by war, hearing the verse "Germany above all, Above all in the world," or as Anna, found "The Roots of those ferocious soldiers." To cut the throats of your sons, your women "sung after her beloved lover dying from the whistle of a bullet. And both experience it in a place where they are viewed hatefully due to citizenship status.
Speaking of white lie brought Frantz to a series of surprises about the secrets of the characters, especially those covered by their lies. It will not be a shocking secret if you are observant to observe the character movements. Yet the twisty dish is not the main objective of François Ozone, but the drama surrounding souls seeking peace, trying to walk away from past grief. Frantz presented melancholy, a black-and-white visual style that occasionally coloured when the flashback, or rather when the happiness of the beautiful memory of the beloved figure entered his character. The stories are mutually reinforcing between humans to get rid of the tendency of suicidal tendencies that are strung together elegantly, as Pascal Marti's cinematographer slowly moves his camera.
RATING (8/10)
Don't forget, give your feedback in the comment section
Don't forget, give your feedback in the comment section