Stream in HD   Download in HD


Le bleu des origines

Le bleu des origines

A survival, silent black & white film shot with a hand camera, a journey into Philippe Garrel's intimate family album featuring the two women who counted in his cinematographic life: Nico and Zouzou.

  • Rating:
    4.00 out of 5
  • Length:52 minutes
  • Release:1979
  • Language:French
  • Reference:Imdb
  • Keywords:Le bleu des origines 1979 full movies, Le bleu des origines torrents movie

A survival, silent black & white film shot with a hand camera, a journey into Philippe Garrel's intimate family album featuring the two women who counted in his cinematographic life: Nico and Zouzou. . You can read more in Google, Youtube, Wiki

LinksNameQualitySeedersLeechersSize
Download   Le Bleu des Origines, Philippe Garrel, 1979.aviOther5027709.36 MB

Le bleu des origines torrent reviews

Geoffrey O (kr) wrote: It was alright, but nothing memorable. The costumes and cinematography are unquestionably good, and Jesse Johnson is amazing as John Wilkes Booth. However, the film clearly couldn't decide if it wanted to be a documentary or drama. The "docudrama" thing doesn't work if the audience is keeping up with the story. Aside from Johnson, and maybe Billy Campbell as well, the rest of the cast wasn't terribly memorable, and I felt Geraldine Hughes' Mary Todd Lincoln was grossly over-acted. The film had too much of Spielberg's "Lincoln" on it's shoulders (although I actually felt it's plot was far more interesting), and I thought it was trying to hard to live up to it. Only with d-list actors/director and Tom Hanks narrating. So much more could have been done with a movie about Lincoln's murder. It's okay, and it's worth a watch at least, but I feel an opportunity was wasted.

Jeremy C (es) wrote: You'd have to be heartless to not enjoy this film.

Victor V (jp) wrote: The cameras mainly follow two people: a 16-year-old girl and her family as she begins work on a cruise ship for Westerners who want to catch glimpses of Old China before it gets washed away; and also a 19-year-old boy whose family we don't meet. Very interesting look at China through these two kids as the old makes way for the new, symbolized by the Three Gorges dam rising at the end of the documentary. Simply and beautifully shot.

Tobias M (ca) wrote: Utter crap, Hogwash, BullSH*T, Don't even bother to waste your time on this australian attempt at a movie!

Martha w (ag) wrote: es un asco de pelicula

Samantha S (jp) wrote: Sort of fascinating. "I'll love you foreve"r sure takes on new meaning. Gross, scary but affecting nonetheless.

Sam C (gb) wrote: Another fable (although adapted) from one of my favorite directors of all time, Shinya Tsukamoto. Even though Gemini might seem like a period piece spliced with Dead Ringers, it's still a worthy watch, although not my favorite.A military doctor treats patients in his hometown, but refuses to accept anyone from "the slums." However, life is good. He has a beautiful wife and is well off. However, things start to change when his parents drop dead by the hands of a man who looks strangely similar to their doctor son. Things also amp up because his wife is an amnesiac due to a raging fire that had killed off her entire family. Or did it? She doesn't remember.As usual, Tsukamoto shoots the film very well. And edits it very well. And produces it very well. And directs it very well. The lighting is also GORGEOUS in this. It's a worthy view for fans of Asian cinema, an even better one for Tsukamoto fans. Check it.

Andrew R (fr) wrote: Awesome stunt work, excellent fight scenes, and an enjoyable story make this a worthwhile Jackie Chan film for anyone interesting in following his filmmaking legacy.

Nadeem M (ru) wrote: Not particularly well known film with an all-star cast, and all the worse for it as it is a powerful and, at times, harrowing depiction of women in a prisoner of war camp trying to survive against the odds, and using music to aid them in coming together and getting through the hardship.

Jonathan L (es) wrote: Great story! Well put together cast also.

Ken D (de) wrote: This is a hard one to watch. The lighting was pretty bad, which is kind of a pet peeve of mine. I like the character that Robert Z'Dar portrays, but it feels as if they might be running out of steam with this series. Several recognizable faces such as Paul Gleason, Jackie Earle Haley and Robert Davi helps give this movie some credibility, but this movie just doesn't do anything for me.

James B (us) wrote: Quality dirty cop film

Joe W (ca) wrote: Full metal jacket, is it Apocalypse now, no!! Is it a Francis Ford Coppola film, no! Is it a Stanley Kubrick film trying to bring in what is man and how to be strong and fearless into a film yes. What's again by is Rich story rich cinematography and rich acting and comedy mix in with a wartime film to Vietnam. Absolutely!! I was with this film it doesn't get the best deserve that it should be. As my only favorite of Stanley Kubrick and I give every single of his film a perfect 10 because of what I really desire and films that Stanley Kubrick brings into cinema. Clockwork Orange is very simple and yet fun to watch. Full metal jacket is doing the same thing. And is trying to make fun of the horror of war that is the only topic that Stanley Kubrick is bringing into this film genre. Full metal jacket is a must watch for everybody to see you to witness what man has to fear and yet of what is fearless. One of the best executed films that I ever seen that brings in the Vietnam war which it is a fake that the government has to bring in it to the American people. From Boot Camp to war. This is a strong telling of what is soldier went through to Vietnam. And yet deserves the recognition that Stanley Kubrick absolutely deserves and his film. Grade A perfect 10

Benjamin O (ru) wrote: Disjointed amusement.

Najd G (br) wrote: The movie excelled at forcing me to choose which character I identified with the most in any given situation, resulting in an engaging narrative that poignantly highlighted the legacy of the written word.

Dmitri S (ca) wrote: Down the Postmodern Yellow Brick Road"Wild at Heart" is not one of the most famous films by David Lynch, but I think it is as worthy as his best ones. Perhaps its unique genre has been preventing a wider appreciation of the movie. The plot is deliberately simple. There are two sweethearts, Lula Fortune and Sailor Ripley. Sailor goes to prison for killing a gangster who tried to kill him. Lula's mother hates Sailor and wants her daughter to break up with him, but Lula waits for him. As soon as Sailor gets out of prison, he breaks parole and takes his love on a road-trip adventure. Wild at Heart has multiple allusions to the Wizard of Oz, with the wicked witch (Lula's mother) and the adventure and troubles of a little girl (Lula). Some of these references are even direct, like in the scene where Lula is clicking her ruby slippers. Of course, in modern times you don't walk down the yellow brick road - you drive. The lovers encounter numerous dangers on their way.PULP FICTION: Wild at Heart looks to me like a precursor to Pulp Fiction which was made by Quentin Tarantino four years later. Both movies are loaded with pop-culture references, which are a favorite fodder of postmodern directors (Wizard of Oz, Marilyn Monroe, Elvis, gangster novels). Both have a simple comic book-like plot. Even the names Sailor Ripley and Lula Fortune sound like they came from a comic book or a paperback novel. However, this simplicity is intentional - in the postmodern art the plot is usually no more than a loose guidance, a necessity used by the director to express his art. It's the same idea as when a jazz band takes a simple tune and transforms it into a completely new and fascinating art piece. There are many other similarities between the two movies. For example, the mobster's name Marcelo Santos resonates with Pulp Fiction's gangster Marcellus Wallace. Uma Thurman identifies Travolta as an Elvis man as opposed to a Beatles man - well, Lynch clearly casts Sailor as an Elvis man in his movie. But the main similarity between Wild at Heart and Pulp Fiction is the fact that in both cases we are watching an absolutely low-brow material - which normally we would skip - but are enjoying it as true art. We genuinely yearn to be around the characters, in the midst of an action, forgetting the fact that this marvelous artwork is actually built out of pulp. Tarantino will develop the same method even further with Kill Bill, but for David Lynch this is the only movie of such kind. One difference of the way Pulp Fiction is made is that the episodes in it are not sequential, even though you can mentally restore the timeline. Lynch will use the same approach later in Mulholland Drive, which is even harder to reconstruct than Pulp Fiction (although possible). The point is to take the viewer's attention away from the linear plot, from the comfort of knowing what's next, and instead focus on each episode or character alone. LYNCH'S AESTHETICS: There is a plethora of weird episodic characters in the movie, which is typical for Lynch. He always handpicks collections of bizarre and freaky creatures in his films, which are often unnecessary for the plot but create an intense mood. The pigeon-squawking man, the maniacal woman with orthopedic leg, the three fat "porn models", Mr. Reindeer (another typical comic book-like character) - the list can go on and on. This alluring ensemble of freaks and weirdos circles around our lovers on the yellow brick road. Some of them are just confusing, while others are menacing. Very few are amicable, like the old black gas station attendant who is tapping joyfully to Lula's dancing, his legs sticking out of short work overalls trousers as thin as the legs of the chair he is sitting on.ROAD HAZARDS: It feels like Lula and Sailor are the only sane people, devoid of evil tendencies, surrounded by hostile and mad reality - or perhaps they have accidentally landed in a scary fairy tale. Their journey to happiness hits snag after snag along the yellow brick road. The radio in the car keeps talking about horrible crimes and accidents on every frequency, and the atmosphere of distress is trying to put them down. They stop the car, jump out and start kissing. This may be their only way to escape, even if futile. Our heroes are alone in their adventure, and all they can hold onto is their love and the foolish snakeskin jacket, proclaimed to be a "symbol of individuality and personal freedom". But the clouds are darkening over them.The ending is a bit trivial - the Good Witch descends upon Sailor and makes all the troubles go away. The happy end contradicts the overall ominous trend of the movie. However, if we subscribe to the genre of a fairy tale, then isn't it supposed to end well?ACTING: I must admit I've never been a fan of Nicholas Cage, especially when he plays a smart or compassionate person. But he really excels as a simple-minded straight-talking wild-at-heart character like Sailor. It often takes a great director to make actors achieve their best.Willem Dafoe puts up an excellent performance as a remarkably despicable mobster Bobby Peru. He is repellent and attractive at the same time, and even Lula almost surrenders to him (remember her bent outward fingers - her "tell"?).Lula's mother displays a harmonious combination of murderous and humane sides, lying and trusting at the same time. Painting the face red before betraying and dooming her former lover is a fascinating scene reminiscent of the ancient theatre. She is evil and vengeful, yet so feminine and vulnerable.GENRE: So is Wild at Heart a road-trip movie? A love story? A fairy tale? A gangster movie? Neither, even though it freely plays with the elements of all these genres. In order to understand it, one should drop the perception constraints of any specific genre and start enjoying the movie as a unique creation. Then the movie will open up, scene by scene, like a good wine which reveals the depth of taste as you sip it. And even if characters or events follow a familiar pattern, don't get bound by it: the postmodern paradigm does not expect the viewers to take anything they see at face value. A good example of this is the ending of Fellini's film "And the Ship Sails On" where the camera shows - as if by accident - that the ship on which the action has been taking place is just a prop in the studio. (I have actually met somebody once who complained that the movie is cheaply made because of that scene...) Overall, Wild at Heart is a remarkable postmodern feature, unique in its kind for Lynch yet in the same league as Mulholland Drive and Eraserhead.

Kristiana G (au) wrote: Talking animals in the movies - not interesting anymore

Dyron W (gb) wrote: Open Water earns points for its technical creativity while working around a shoe-string budget, but story-wise, it falls short.