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gemma bovery 2014 region free dvd5 french bcbc

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 							Gemma Bovery is a 2014 French-British comedy-drama film based on Posy Simmonds' 1999 graphic novel of the
same name. Directed by Anne Fontaine, the film stars Gemma Arterton, Jason Flemyng, Mel Raido, and Fabrice Luchini. The
film premiered in the Special Presentations section at the Toronto International Film Festival on 6 September 2014. 
 Contains movie and Optional English, French Subtitles. No menus
or extras. Regular DVD quality. Thank you.
 Spoken Languages: French (some English)
 
 
 
 
 
 
 Synopsis
 Martin (Fabrice Luchini),
an ex-Parisian with a deep appreciation for Gustave Flaubert, has settled in a village in Normandy as a baker. He sees a
British couple moving into an old property across the road. Their names, Gemma (Gemma Arterton) and Charles Bovery
(Jason Flemyng), echo those of the leading characters in Flaubert's 1856 masterpiece Madame Bovary. Martin engages with
the young couple and observes Gemma's behaviour replicates that of her namesake, including a series of romantic and
sexual liaisons that suggest she is headed for a tragic finale like that of the novel. He intervenes but cannot alter
the inevitable conclusion.
 
 Cast
 Gemma Arterton, Fabrice Luchini, Jason Flemyng, Niels
Schneider, Isabelle Candelier, Mel Raido, Elsa Zylberstein 
 
 Gemma Bovery, film review
 Take
pleasure in a delicately sketched affair
 Geoffrey Macnab 
 Thursday 20 August 2015
 Infidelity is
generally portrayed in very melodramatic fashion in movies. Husbands try to kill their wives' lovers. Affairs end in
suicides and broken families. Parents are torn away from their children. The sense of guilt and treachery tends to be
all pervasive. It is therefore a relief to encounter a drama as sly and playful as Anne Fontaine's Gemma Bovery.


 Fontaine's feature is based on the graphic novel by Posy Simmonds, which was itself inspired by Flaubert's Madame
Bovary. It stands as a companion piece of sorts to Stephen Frears' Tamara Drewe (2010), also adapted from a Simmonds
graphic novel and also starring Gemma Arterton. This is glossy, Saturday-supplement filmmaking, both celebrating and
satirising the behaviour of its determinedly middle-class protagonists. It's a movie in which the characters all eat
camembert, drink fine wines and make small talk about interior decoration.
 
 The filmmakers take great
pleasure in highlighting the cultural differences between the British and the French in every area from gastronomy to
lovemaking. There are tragic elements here. (Anyone with the vaguest knowledge of Flaubert's novel will know that it
ends badly.) Even in its darkest moments, though, the film never loses its sense of comic irony. The most seismic events
here always have a whiff of absurdity. During a heavy-breathing sex scene, someone will damage a piece of priceless
china. When lovers are trying to take themselves seriously, there will be a pet dog creating mischief in the background.
Much of the comedy here come from the characters' infinite capacity to misunderstand each other.
 
 The
English couple (Arterton and Jason Flemyng) building a new life in rural France have set up home next door to the
literature-loving French baker Martin Joubert (Fabrice Luchini.) He is obsessed with Flaubert's famous novel and sees
Gemma as a modern-day equivalent to its heroine. When he gives her the novel to read, her response is instructive.
"Nothing happens but, at the same time, it is interesting," she says – a verdict that could equally well be
applied to the film.
 
 The subtext here is that everyone is bored rigid. Life in the small French town may
seem idyllic, but it has its trials. The shutters in the English couple's house rattle. They have an infestation of mice
(an device to introduce arsenic in to the plot). There are only so many dinner parties and country walks that the
characters can endure. The locals are desperate for something to happen. Martin, the big city intellectual reinventing
himself as an artisan baker, is the most bored of all. He is a voyeur and a manipulator who quickly becomes obsessed by
Gemma. Rather than try to seduce the beautiful Englishwoman himself, he seeks to engineer a situation in which she, like
Madame Bovary, might start an affair.
 
 Luchini is one of the great French character actors of his era. He
gives a brilliant comic performance here as Martin, the nosy, obsessive neighbour. Whenever Gemma walks into his bakery,
he stares at her with the sense of utterly lecherous longing that someone with a sweet tooth might show toward a very
delectable looking cream cake. At the same time, he has a creepy quality. In a different kind of movie, you could easily
imagine him as the small-town serial killer. He is always plotting and stirring; writing anonymous letters, reading
other people's journals, and generally trying to influence their behaviour. It is through him that Gemma encounters
Hervé De Bressigny, the handsome young aristocrat studying for his exams.
 
 "I remember feeling a strange
kind of jubilation," he reflects on the idea that Gemma and Hervé might start an affair. "I could see them naked in
each other's arms. "Madame Bovary crossed paths with the country squire Rodolphe just as Gemma crossed paths with
Hervé."
 
 Arterton is likewise impressive in a role that requires her to speak mainly in French and to be
ethereal and earthy at the same time. She is both the embodiment of glamour – the object of Martin's rapt desire
– and a frustrated middle-class English woman abroad, one with a very chequered love life. Unlike her
free-spirited Tamara Drewe, Arterton's Gemma Bovery leads a claustrophobic existence, with all the menfolk in her life
trying to constrain her in one way or another. "When I'm with you, I feel like an accessory – like your watch or
your bloody Montblanc pen," she rails at her former boyfriend Patrick.
 
 Director Fontaine doesn't moralise
about the behaviour of the characters. She simply observes them. Hervé may look like a Greek god but he is "dull,
conventional", more dedicated to passing his law exams than to Gemma's wellbeing, and terrified of upsetting his
formidable mother. As Gemma's husband, Flemyng is a loyal but stolid figure, slow to realise that he is being cuckolded.
Even Luchini's Martin turns out not to be as smart as he thinks he is. There is something pathetic about his attempts to
pretend that he and his neighbours are characters in a 19th-century literary novel.
 
 Then again, Flaubert's
original novel wasn't about kings and queens. It was determinedly provincial: the story of a country doctor's wife.
Fontaine's film can be seen as a faithful updating of that novel. Banality comes with the territory. This is a movie in
which a bee sting is considered a major event and in which a love bite spotted on the heroine's neck seems like the mark
of Cain. It is the everyday detail in Fontaine's evocation of the English couple's life in France that makes the film
appealing. Gemma Bovery pays attention to everything from the plumbing to what its heroine buys at the local market. Its
wry, tongue-in-cheek approach may skirt close to superficiality but this is also a film with a barbed comic edge.
 
						

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