"Enfants du siècle" does'nt really mean "Children of the Century", as for the contemporaries it was obvious that it meant "Heirs of the Napoleonic Saga".
This generation, Hugo, Dumas,, Musset, Nerval, Lamartine and Vigny was obsessed by the sad perception that they could not lead the heroïc, larger than life existence experienced by their fathers during the Revolution and Empire - a period (or shortly thereafter) during which they were born. They - and Aurore Dupin de Francueil (aka George Sand) with them - sought vicariously to find fame and glory in literature, particularly in theatre which was the « 7th art » of those days, and in forms of "original living" which would not surprise those reading now on the antics of 'world famous' people. In those days, that was called « Romantism ».
All of them succeeded in literature; but - even though in those days novels, essays, tales, and poems were keenly read - theatre was the big thing: a kind of Hollywood on Seine! And the successful theatre writers and performers had a fame akin to that of our Hollywood stars of today.
So this film should be seen as the biopic of two larger than life "Hollywood stars".
No surprise that passions, drugs, unfaithfulnesses and manifestations of an enormous ego are sprinkled liberally in this film. One may think of the Burton and Taylor duet, but with a wittier and more intellectual bent.
Musset, fabulously talented, has left immortal poems and several theatre pieces which have been rediscovered in the XXth century and which will last; but he has sadly wasted his talent in alcohol (absinthe mainly), drugs and philandering, prostitutes included; he died at 47.
Sand has been the more resilient of the two. She died at 71, a busy grandmother fond of country life, a true precursor of the cause of women's freedom in terms of choosing her (sometimes Saphic) lovers, espousing political causes, and communing with nature.
Sand's "original" life is her real masterpiece; it has a very modern tone. Her writings are numerous and charming, but for me, the literary genius of the two is Musset: most of his writings are masterpieces, even though his life has been a shambles.
It is no surprise then that Diane Kurys takes Sand as her lead character, against a despondent and weak Musset. And I quite understand why - to some reviewers - they both appear boorish, selfish and inspiring few sympathy. But - keeping in mind that Musset and Sand ooze talent and are their generation's Hollywood superstars - you may enjoy this well crafted biopic.
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This generation, Hugo, Dumas,, Musset, Nerval, Lamartine and Vigny was obsessed by the sad perception that they could not lead the heroïc, larger than life existence experienced by their fathers during the Revolution and Empire - a period (or shortly thereafter) during which they were born. They - and Aurore Dupin de Francueil (aka George Sand) with them - sought vicariously to find fame and glory in literature, particularly in theatre which was the « 7th art » of those days, and in forms of "original living" which would not surprise those reading now on the antics of 'world famous' people. In those days, that was called « Romantism ».
All of them succeeded in literature; but - even though in those days novels, essays, tales, and poems were keenly read - theatre was the big thing: a kind of Hollywood on Seine! And the successful theatre writers and performers had a fame akin to that of our Hollywood stars of today.
So this film should be seen as the biopic of two larger than life "Hollywood stars".
No surprise that passions, drugs, unfaithfulnesses and manifestations of an enormous ego are sprinkled liberally in this film. One may think of the Burton and Taylor duet, but with a wittier and more intellectual bent.
Musset, fabulously talented, has left immortal poems and several theatre pieces which have been rediscovered in the XXth century and which will last; but he has sadly wasted his talent in alcohol (absinthe mainly), drugs and philandering, prostitutes included; he died at 47.
Sand has been the more resilient of the two. She died at 71, a busy grandmother fond of country life, a true precursor of the cause of women's freedom in terms of choosing her (sometimes Saphic) lovers, espousing political causes, and communing with nature.
Sand's "original" life is her real masterpiece; it has a very modern tone. Her writings are numerous and charming, but for me, the literary genius of the two is Musset: most of his writings are masterpieces, even though his life has been a shambles.
It is no surprise then that Diane Kurys takes Sand as her lead character, against a despondent and weak Musset. And I quite understand why - to some reviewers - they both appear boorish, selfish and inspiring few sympathy. But - keeping in mind that Musset and Sand ooze talent and are their generation's Hollywood superstars - you may enjoy this well crafted biopic.
___ .