The aesthetic options this movie takes will make you immerse into the epoch. From the beginning, when they get down from the ship and the music and military marches don't sound as they should, but muffled and empty, you could see reality was going to take its toll on the couple's dreams.
While quite implausible (Sasha's crossing, Aleksei Golovin getting scots-free from all he did) the villains are not as dumb and cartoonish as in other films of, say, Nazy Germany.
Sandrine Bonnaire is fine. Unrecognizable from her half wit Sophie from La Cérémonie (1995) as well as the sleuth in Chabrol's Au coeur du mensonge, she's radiantly beautiful here. Only later, watching some scant pictures at IMDb, did I realize that her nose, for instance, isn't exactly "nice". Good for her, her smile erases our rationality :).
I found the film surprising, specially since the couple of main characters don't perform according to expectations. Aleksei, while the honest bright physician, falls in the clutches of a believable Olga (as Tatiana Doguileva) without much ado. And Marie is not immune to Russian charm either, forgetting her son at her charge to boot.
What I really didn't like is the heroic format of Catherine Deneuve's actress turned "freedom fighter" Gabrielle Develay. As if the director, writer etc. had to erase with one elbow what had been (well) written with the other one, this character comes out of the blue to be the only "hope of liberty at western capitalism". As one character says to her: "You hardly know this person you're risking your life for!". Besides the tricks for a Disney movie, the "last minute efforts", the stupidest guards on earth etc, I suspect the KGB didn't run the country or kill more than 20 million people and could have not realized that, for instance, once Marie first gave sure signs of "dissidence" and then did what she did (Sasha), she wasn't going to try more mischief. So Sasha's story, from his swimming talents (like a bad Hollywood movie), the state official realizing his family had all been traitors and him being let free to wander in the country, then his standing at the French Embassy like if somebody in his condition could really barter for anything (there were millions of people in the same condition).
The dismal housing problems are accurately depicted, as well as the troubles of "too many people living under a single roof". Of course, like in all big productions, visuals are fine (like Sasha's training at a beautiful cold river), as the epoch (the buildings, cars, clothing, the already mentioned crowded flat, even the "expensive Bulgarian hotel" looks, well... Sovietic and fadish!). The opulent interiors shot in drab color as jotix100 from New York writes at IMDb. Ah, the petty thiefs who "find chicken around the corner" and jewellry from a relative are sympa, they add some naive contrast to the dire Soviet conditions. Which were probably many times worse than what the film dares to show.
All in all, I liked the film. But I feel it lost gravitas and depth due to concession to the ticket office.
While quite implausible (Sasha's crossing, Aleksei Golovin getting scots-free from all he did) the villains are not as dumb and cartoonish as in other films of, say, Nazy Germany.
Sandrine Bonnaire is fine. Unrecognizable from her half wit Sophie from La Cérémonie (1995) as well as the sleuth in Chabrol's Au coeur du mensonge, she's radiantly beautiful here. Only later, watching some scant pictures at IMDb, did I realize that her nose, for instance, isn't exactly "nice". Good for her, her smile erases our rationality :).
I found the film surprising, specially since the couple of main characters don't perform according to expectations. Aleksei, while the honest bright physician, falls in the clutches of a believable Olga (as Tatiana Doguileva) without much ado. And Marie is not immune to Russian charm either, forgetting her son at her charge to boot.
What I really didn't like is the heroic format of Catherine Deneuve's actress turned "freedom fighter" Gabrielle Develay. As if the director, writer etc. had to erase with one elbow what had been (well) written with the other one, this character comes out of the blue to be the only "hope of liberty at western capitalism". As one character says to her: "You hardly know this person you're risking your life for!". Besides the tricks for a Disney movie, the "last minute efforts", the stupidest guards on earth etc, I suspect the KGB didn't run the country or kill more than 20 million people and could have not realized that, for instance, once Marie first gave sure signs of "dissidence" and then did what she did (Sasha), she wasn't going to try more mischief. So Sasha's story, from his swimming talents (like a bad Hollywood movie), the state official realizing his family had all been traitors and him being let free to wander in the country, then his standing at the French Embassy like if somebody in his condition could really barter for anything (there were millions of people in the same condition).
The dismal housing problems are accurately depicted, as well as the troubles of "too many people living under a single roof". Of course, like in all big productions, visuals are fine (like Sasha's training at a beautiful cold river), as the epoch (the buildings, cars, clothing, the already mentioned crowded flat, even the "expensive Bulgarian hotel" looks, well... Sovietic and fadish!). The opulent interiors shot in drab color as jotix100 from New York writes at IMDb. Ah, the petty thiefs who "find chicken around the corner" and jewellry from a relative are sympa, they add some naive contrast to the dire Soviet conditions. Which were probably many times worse than what the film dares to show.
All in all, I liked the film. But I feel it lost gravitas and depth due to concession to the ticket office.