An intelligence operative discovers that no one is what they seem in the shadowy world of espionage.
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Agustin T (jp) wrote: la mejor pelicula de zombis!! insuperable!!!
Robert T (de) wrote: This film has a pretty irresistible premise--from the perspective of an aging rentboy, it answers the question, how do aging rentboys live in Paris? Well, in this case, they try to maintain their health and their wealth. They hire rent boys and worry about staying in the wills of their former lovers. I agree with some of the reviewers that there are a lot of inert shots and seeming digressions. But as others have pointed out, there aren't so many cinematic analyses of the aging queer, from the perspective of the aging queer, so I think that it's worth sitting through the long shots to get a sense of what this man's life is like.I didn't really buy the drama around the lost inheritance. Pierre (played by and based on Jacques Nolot, the director) admits that he broke up with his former benefactor and doesn't seem to treat him very well. So I can't get that outraged about losing the inheritance. I don't really think people have a right to inherit anyway.If there is a moral to the story, I think it's about the first rentboy we see in the film, who is also the last one we see. He seems to know Pierre well. He tells Pierre he wants to take him to the Pigalle. He, the rentboy, will be Pierre's pimp and Pierre will be in drag. At the end of the movie, Pierre is chatting with someone (maybe it's his analyst) and concludes that what he would like is a witty, clever, attractive young man in his life. And then he calls up this first rentboy and they go to the Pigalle, Pierre in drag.That final scene is wonderful. It's the first time we get music, and the music we get is over-the-top fateful/romantic. Pierre is in a dramatic black wig and a spiderwoman black dress. We get many long shots of her smoking a cigarette in the entryway to an x-rated film theater. The scene is to die for and worth the long pauses in the rest of the movie!There are other little witty moments--discussions between the older men about the price of rentboys. 100 euros seems appropriate if they come to your place. And he has one service that seems to combine delivering groceries and sex! Paris is so civilized!
Omar S (mx) wrote: Great movie! Very inspirational! LOVED IT!
Benjamin M (mx) wrote: A thug with an angel's heart, the defender of the weak, a true soldier! my heart is where u shall always remain! God bless the dead!
Jeff M (fr) wrote: If you do not like this movie, then something is wrong with you! :)
Lanning (nl) wrote: Not a darling of the critics, Picnic has suffered from robust shellackings by popular voices such as the renowned Roger Ebert -- with whom I seem to disagree about 95% of the time -- man, do I miss Gene Siskel. Ebert, the anti-Picnic cheerleader -- runs down this film as clunky, awkwardly written, poorly directed, and utterly non-self-aware. When RE doesn't like a film, he does not hold back. In truth, as I ruminate over what all is eating Roger Ebert, it seems to me that he is most irate about Holden and Novak being attracted to each other for surface reasons, for their physical attributes rather than their intellectual capabilities. Roger finds it ironic that Novak plainly states her desire to be seen as more than just a good-looking woman, when in fact that is the very essential and singular attraction for Holden. Roger, guess what? This could very possibly be a statement about 50s' middle-American values, a rich rendering, I'm thinking, of the way the writers perceive an awkward decade, full of stilted dialog disguising sexual tensions bubbling below the surface. If only we could all say what we really mean, really want, really desire so deeply -- hey, then the stuffy 50s might erupt into a decade of revolutionary thought and action -- hmmmmm, kind of like the 60s, huh Roger? On another note, Rosalind Russell is yet another fine actor who never gave a bad performance and never won an Academy Award. She could have certainly won for Best Supporting Actress with this depressingly desperate performance.