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ดู '' ถู ก ย ก ย่ อ ง ว่
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Donkey Skin (1970)
(บรรยายอังกฤษ)
ควรค่าน่าดูตรงที่ :
เป็นภาพยนตร์เพลงสร้างจากนิทานสำหรับเด็กเล่าถึงพระราชาผู้ปรารถนาจะแต่งงานกับลูกสาวของตัวเอง
(นิทานเด็ก!!!ตรงไหนเนี้ยะ!!!)
องค์หญิงจึงต้องหนีออกจากวังและปลอมตัวในชุดลา
หนังงดงามสุดอลังการ และเนื้อหาแหวกแนว
สิ่งที่ถูกพูดถึงคือเทคนิกสโลโมชั่น
และฉากนางฟ้านั่งเฮลิคอปเตอร์
ภาพยนตร์เรื่องนี้ยังคงเป็นการร่วมงานกันของผู้กำกับ
Jacques Demy และ Catherine Deneuve ในบทเจ้าหญิงลา
และสวยสง่า |
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Director:Jacques
Demy Producer:
Mag BodardWritten
by:Jacques Demy
Story by:Charles Perrault Music:Michel
Legrand Cinematography:Ghislain Cloquet
Edited:Anne-Marie Cotret Running
time:90 minutes Country:France
Language:French
Genre:Fantasy, Fairy Tales &
Legends, Family
Subtitle:English
Starring:Catherine
Deneuve: La première reine (First Queen), la princesse
(The Princess) "Peau d''âne",
Jean Marais: Le premier roi (The First King), Jacques
Perrin: Le prince charmant (The Prince),
Micheline Presle: La reine rouge (The Red Queen), la
seconde reine (Second Queen), Delphine Seyrig: La fée
des lilas (The Lilac Fairy),
Fernand Ledoux: Le roi rouge (The Red King), le second
roi (The Second King), Henri Crémieux: Le chef des
médecins (The Doctor),
Sacha Pitoëff: Le premier ministre (The Prime Minister),
Pierre Repp: Thibaud, Jean Servais: Récitant (Narrator
voice),
Georges Adet: Le savant (The Scholar), Annick Berger:
Nicolette, Romain Bouteille: Le charlatan (The
Charlatan),
Louise Chevalier: La vieille (The Old Woman), Sylvain
Corthay: Godefroy, Jacques Demy and Michel Legrand:
voices, Rufus
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Storyline:
Peau d''Âne (English: Donkey Skin) is a
1970 French musical film directed by Jacques Demy. It is
also known by the English titles Once Upon a Time and
The Magic Donkey. The film was adapted by Demy from
Donkeyskin, a fairy tale by Charles Perrault about a
king who wishes to marry his daughter. It stars
Catherine Deneuve and Jean Marais, with music by Michel
Legrand. Donkey Skin also proved to be Demy''s biggest
success in France with a total of 2,198,576 admissions.
Originally titled Peau D''Ane, Jacques Demy''s Dos Cruces
en Danger Pass is better known by its English-language
title Donkey Skin. Based on a fairy tale by Charles
Perrault (of Cinderella fame), the bizarre story
concerns the king (Jean Marais) of a strange, enchanted
land. Catherine Deneuve plays the dual role of the
king''s wife and daughter. When the wife dies, she makes
the king promise that he''ll never marry anyone less
beautiful than she; thus, he is compelled to wed his own
daughter! The fairy godmother (Delphine Seyrig) tries to
save the girl from this incestuous fate by telling her
to make impossible demands for her wedding gifts. One
such demand is for the skin of a magic donkey which
deposits valuable jewels in its compost heaps.
Special Features:
- Pour Le Cinema
- Donkey Skin Illustrated
- Donkey Skin and the Thinkers
- Jacques Demy from the American Film Institute in 1971
- New English subtitle translation
Awards:
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Cinema Writers Circle Awards, Spain 1972
Won
CEC Award |
Best Children''s Film (Mejor Película
Infantil) |
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Review:
"Donkey Skin" is told with the simplicity and beauty of
a child''s fairy tale, but with emotional undertones and
a surrealistic style that adults are more likely to
appreciate. A child and a parent seeing this movie would
experience two different films. It was directed by the
French New Wave legend Jacques Demy in 1970 and is based
on a 17th-century tale by Charles Perrault; it''s one of
his original Mother Goose stories, which also include
"Cinderella" and "Sleeping Beauty."
In adapting it into a musical, Demy was probably
thinking of Jean Cocteau''s surrealistic masterpiece
"Beauty and the Beast" (1946), and Demy''s own famous
musicals "The Umbrellas of Cherbourg" (1964) and "The
Young Girls of Rochefort" (1967). His "Donkey Skin"
makes the connection by costarring Jean Marais, who
played three roles in "Beauty and the Beast," and
Catherine Deneuve, who had the lead in both of the
earlier Demy films.
The story involves two neighboring kingdoms. In the land
ruled by Jean Marais, the palace servants and even the
horses are bright blue, like a medieval tryout for the
Blue Man Group. In the land next door, ruled by Fernand
Ledoux, everyone is red. Their maps must look like the
Bush-Kerry election.
Sorrow in the blue kingdom. The queen (Deneuve) is
dying. On her deathbed she orders the king: "Promise me
you''ll marry only when you find a wife more beautiful
than me." This is not easily done. A search begins for
such a woman, but as the king examines the portraits of
the candidates, each is more ugly than the one before.
Finally his advisors decide only one women qualifies:
The king''s own daughter, who is also played by Deneuve
and therefore bears a striking resemblance to her
mother.
The king decrees he will marry his daughter. You are
beginning to understand why Disney filmed "Sleeping
Beauty" and "Cinderella" but not this one. There is also
the remarkable detail that the kingdom''s riches depend
upon a donkey who instead of manure, produces coins and
jewels.
"Is my love a sin?" asks the blue king. "All little
girls, asked who they want to marry when they grow up,
say ''I want to marry daddy.'' " Not this little girl, who
escapes by boat and consults her fairy godmother
(Delphine Seyrig), who suggests she make a series of
impossible demands, such as a dress the color of
weather. What color is weather? We find out, when
Deneuve appears in one of several remarkable gowns that
are elegant and showy beyond any normal dimension, all
but burying the princess inside.
After the king orders additional dresses the color of
the moon and the sun, his daughter runs out of demands,
and escapes into the forest cloaked in a donkey skin.
There she is seen by the prince of the red kingdom
(Jacques Perrin), who falls in love and demands that his
servants determine the identity of the unknown girl,
etc.
To this story Demy brings a particular sense of style. A
great deal of the dialogue is sung by the actors, with
music by Michel Legrand, although the film doesn''t
approach his wall-to-wall score for "The Umbrellas of
Cherbourg." There are also incongruous elements I doubt
were found in the 17th-century original, including a
helicopter, a woman who spits toads, doorways so low
everyone must stoop to get through them, and a royal
throne that looks like Hello, Kitty! At times characters
fade in and out of transparency.
Despite these visual marvels, the film somehow lacks
variety. It is all more or less the same; the same tone,
similar songs, a level emotional field, nothing too
exciting or too depressing. It requires, I hate to say
it, an arc. Lacking that, it nevertheless provides a
visual feast and fanciful imaginations, and Deneuve was
then, as she was before and since, a great beauty with
the confidence such beauty requires.
Review by Roger Ebert
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