Les acteurs (2000) is a French movie. Bertrand Blier has directed this movie. Pierre Arditi,Josiane Balasko,Jean-Paul Belmondo,François Berléand are the starring of this movie. It was released in 2000. Les acteurs (2000) is considered one of the best Comedy movie in India and around the world.
A self-conscious and self-referential adventure into the (pretend) lives of legendary actors in Paris.
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_Les Acteurs_ is the absurd story of Jean-Pierre Marielle desperately waiting for a cup of hot water, the story of a conspiracy against actors, the story of aging actors whose careers are slowly less active than they used to be, but a stunning tribute to French actors and their cinema. Supported by a solid reflection about cinema and acting (the fourth wall, the hidden cameras, to play or not to play), the story of this film in which most of those famous actors play their own role (not to be mixed up with living their life in front of the camera - the film is not voyeur) is quite vague, and follows the actors in series of episodes which make the film quite amusing. As André Dussolier quits the film and leaves Josiane Balasko to play his part (great actress, she's hilariously serious especially when, in Dussolier's role, she bitches about herself), as actors run in each other on the street, asking for autographs, as fights and gossip happen, we recognize pastiche of other scenes in which each (or others) have played. Actually, for whoever does not know the actors (most of them being at least in their 50s) or does not know French Cinema, this movie has less interest, since most of the references will be missed, but it will still offer a good track of reflection on aging, on acting, on public life...
This is the kind of film to see relaxed and without any expectations. It is just like a recorded play of theater, although not linear, but with a common message along the way. It is a curious, enjoyable experiment not like any other movie I have seen.
There's some very clever humour in this film, which is both a parody of and a tribute to actors. However, after a while it just seems an exercise in style (notwithstanding great gags such as Balasko continuing the part of Dussolier, and very good acting by all involved) and I was wondering why Blier made this film. All is revealed in the ending, when Blier, directing Claude Brasseur, gets a phone call from his dad (Bernard Blier) - from heaven, and gets the chance to say how much he misses him. An effective emotional capper and obviously heartfelt. But there isn't really sufficient dramatic tension or emotional involvement to keep the rest of the film interesting throughout it's entire running time. Some really nice scenes and sequences, however, and anyone who likes these 'mosntres sacrés' of the French cinema should get a fair amount of enjoyment out of this film.
... Hawk Heaven for lovers of French cinema and by extension French Screen actors/actresses. At its worst it's an indulgence, actors getting to bitch about other actors, question the validity of acting as a profession at all, etc whilst at its best it's a glorious celebration/send-up of some of the finest actors currently working. From a simple premise - Jean-Pierre Marielle's request for water being ignored in a restaurant - Blier spins off in all directions and allows the cream of French cinema to strut their stuff before the camera even throwing in nods to those no longer around (Jean Gabin, Lino Ventura) including the Director's father, Bernard, one of the great stalwarts of French cinema, from whom he fields a celestial phone call at the end of the film. Discursive and prolix, yes, guilty as charged but also something of a guilty pleasure.
Jean-Pierre Marielle, Andre Dussolier and Jacques Villeret are dining in a restaurant where the first is surprised when the waiter does not bring him the bowl of hot water he had ordered. His friends start to go on about his lack of conviction when makes an order. Jean-Pierre Marielle soon exits, replaced by Claude Rich, whom Andre Dussolier and Jacques Villeret interrogate about his eternal smile... Bertrand Blier scrutinises the existential disarray of his actors through a long succession of crazy sketches, impregnated with cruelty and self-derision. But all this ends up as nothing.