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Awesome Movie

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Exactly the movie you think it is, but not the movie you want it to be.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

José Ferrer won the Oscar for the leading role in the English language 1950 version, and romantic comedy Roxanne with Steve Martin modernised the story, but the majority of people will recognise this French language adaptation of the play by Edmond Rostand, in particular for the leading actor. Basically in the 17th century, in Paris, France, the charismatic Cyrano de Bergerac (Oscar and BAFTA nominated Gérard Depardieu) is a talented poet and supremely skilled swordsman, he has a large nose, which he is ridiculed for, and he is self-conscious because of it, but he pretends to be proud. Cyrano is hopelessly in love with his beautiful "friendly cousin" (though they are not actually related) Roxane (Anne Brochet), but he believes she will not love him because with his oversized hooter he considers himself physically unattractive. Cyrano finds out Roxane has become infatuated with dashing new recruit to the Cadets de Gascogne, Christian de Neuvillette (Vincent Perez), but despite his good looks, Christian is tongue-tied when speaking with women. Cyrano sees this as an opportunity to vicariously declare his love for Roxane, he helps Christian learn to court a woman, and writing love letters and poems to Roxane, declaring the very emotions Cyrano feels himself for her. Roxane starts to appreciate, not only for his good looks, but for his apparent eloquence, one night Christian is forced to prove his talent for words in person, Cyrano joins him beneath her balcony, when Christian fluster Christian speaks his words, Roxane is enraptured, Cyrano unintentionally wins Christian a kiss with her. Roxane eventually falls in love with Christian, and they contract a secret marriage in order to thwart the plans of the arrogant nobleman Comte de Guiche (Jacques Weber), himself a frustrated wooer of Roxane. In revenge, De Guiche summons Christian to fight in the war against the Spanish, Cyrano also joins the harsh and brutal battle, but escapes over enemy lines each morning to deliver a love letter, signed by Christian, to Roxane. At this point, Christian is completely unaware of Cyrano's doings on his behalf, the love letters eventually draw Roxane from the city to the war front, she had come to visit Christian, the supposed romantic poet, but she admits she would rather love an ugly, but great poet, than a handsome, dimwitted fellow. Realising his mistake, Christian tries to find out whether Roxane loves him or Cyrano, he asks Cyrano to find out, however, following her visit, Christian is wounded and dies in battle, as he lies dying, Cyrano tells Christian that he asked Roxane and it was Christian she loved, but he had done no such thing, Cyrano continues to fight and the French win. Cyrano keeps his love for Roxane secret for fourteen years, during which time he has become unpopular because of his satirical writing about nobility, the grief-stricken Roxane enters a convent, Cyrano faithfully visits her over the years every week. Cyrano is never late for his visits, until a fateful attempt on his life leaves him mortally injured, he is not injured by a sword, but instead suffers a serious head injury when struck by a heavy wooden beam, against doctor's orders Cyrano visits Roxane at the convent one night. Cyrano faints, but dismisses it as the effect of his wound at Arras, when Roxane mentions Christian's last letter, Cyrano is able to recite it be memory, only then Roxane realise that is was Cyrano who wooed her under the balcony and wrote the love letters, after fainting again, Cyrano is forced to reveal his mortal wound, as he dies, Roxane realises that it was Cyrano, not Christian, whom she truly loved all along. Also starring Roland Bertin as Ragueneau, Philippe Morier-Genoud as Le Bret, Pierre Maguelon as Carbon de Castel-Jaloux and Josiane Stoléru as The Duenna. Depardieu gives an exceptionally passionate, witty and finessed performance as the noted Parisian poet and swashbuckler whose search for happiness is hindered, and there is good support from Brochet and Perez, the fight sequences and political stuff is fine, but it definitely all about the love story, you feel real sympathy for the hero with the big conk, an interesting period romantic drama. It won the Oscar for Best Costume Design, and it was nominated for Best Art Direction-Set Decoration, Best Makeup and Best Foreign Language Film, it won the BAFTA for Best Cinematography, Best Costume Design, Best Make Up Artist and Best Original Film Score for Jean-Claude, and it was nominated for Best Adapted Screenplay, Best Film not in the English Language and Best Production Design, and it won the Golden Globe for Best Foreign Language Film. Very good!

One of the strongest virtues of "Cyrano De Bergerac" is that it's almost entirely free of the ponderousness and stuffiness one usually associates with period productions and/or screen adaptations of classic stage plays. It's lively and even funny at times, but also poetic and moving. At 138 minutes perhaps it tries to cover too much ground, but the reconstruction of the period (the mid-1600s) is stunning and there are wonderful moments to spare. Gerard Depardieu absolutely owns the screen in this role - it must be one of the highest highs in his astonishingly prolific (as well as uneven) career; Anne Brochet is fittingly enchanting; Vincent Perez may not be up to the level of those two, but he is perfectly adequate for what he is asked to do. A very good movie. *** out of 4.

Embarrassed by his large nose, a romantic poet/soldier (Gerard Depardieu) romances his cousin (Anne Brochet) by proxy.The story of Cyrano has been told many times, and there are a number of film adaptations. Perhaps best known is Steve Martin in "Roxanne", which is a little heavier on the comedy and much lighter on the sword fighting. Well, you know, you will have that.This version has an advantage that few have: it is French. That gives it a bit of weight. And it does not shy away from the fact Cyrano is attracted to his cousin, something that would be removed from any mainstream film (unless used for comedy, as with George Michael Bluth).

Cyrano de Bergerac (1990)This is Gerard Depardieu's shining moment in an up and down career. Some say the movie makes a blur of the subtle writing and emotional power of the original play by Edmond Rostand of the same title, written in 1897. And as much as the English version by Jose Ferrar (1950) is the acclaimed English language version, the play was originally French. And it's all in verse, including the subtitles, which in this case use the translation by Anthony Burgess (of Clockwork Orange fame).But the story, the story. It's all about the simple amazing plot (about which Rostand was convicted, on slim evidence, of stealing from a Chicago amateur writer). The year is something like 1680, in France. A man of great talent and fighting skill, a deep emotional life and poetic sensibility, and also with a gigantic nose, is in love with Roxane. This is poor Cyrano, who has everything but good looks. And Roxane happens to be in love with a very good looking young man who is a bit of a talentless fool. Cyrano, out of love for Roxane, steps in to help the fool by writing letters for him that succeed in wooing the beautiful Roxane.If this sounds like that crazy movie called "Roxane" starring Steve Martin, well, you've got it. That's the Cyrano story, and Martin's movie sort of kicked off the contemporary deluge of Cyrano movies in 1987 (three years before this one). Of course his is a comedy, and there are some changes from the play and this 1990 version, which tries even in its grandiose production to be true to the tightly written and scripted original.It's all pretty terrific. In a way, if you like Shakespeare, it's the play that holds the whole thing back a bit, lacking, oddly enough, complexity. An example is the funny but thin asides with the cake maker who wants to be a poet. There is no shortage of characters, there is a constant turning of events, and it does never quite ever slow down, but the main trick and drama of the situation is so central and gripping you end up waiting for it to find some kind of denouement or twist and surprise. And you do eventually get that, with great beauty and pathos (this is no comedy). But that's sort of all you get, in terms of narrative flow.And that's almost all you need, I have to admit. This production pulls out all the stops, and scene after scene is amazing in its set design and lighting, in its huge range of characters and gritty lovely evocation of 17th Century France. You could watch a bad play with such sets. And the photography is fluid, active, and formally terrific, too, which layers up the ongoing beauty of the filming. And Depardieu is terrific in his bloated, leading man way (I say this because he has detractors, those who have seen searing and cutting intensity in stage versions, but I have nothing to compare it to except Steve Martin). The two other main characters are actually a drag overall, and avoidably, I should think, with all the talent being lavishly expended. Roxane is more delighted than delightful, ornamentally pretty but also so stiff emotionally you wonder what all the fuss is about. And the foolish pretty boy is probably meant to be a bit shallow as a character, but it does leave his parts a little cardboard.Anyway, I overthink this. See the movie. If you don't like subtitles, see the American one from 1950. Don't think the Steve Martin one is enough. For one thing, the original ending is one of the most moving and memorable in all of cinema. For me, the Depardieu version of this last great scene is unmatched.