finnisch. schlicht. und ergreifend. - Das sind Aki Kaurismäkis Filme für mich -
Die Bilder sind nur auf den ersten Blick karg... doch überall ist Botschaft. Ebenso in den Dialogen.... - reduzeirt auf das Wesentlichste.... und alles ist gesagt - auch zwischen den Worten. Die Botschaft ist tief und hammerdirekt... - und wirkt in ihrer Tiefe noch 3 Tage später nach... - und man entdeckt immer noch eine andere Schicht.... - Ein Erlebnis - kühl und klar... - und wärmend.
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Criterion Collection: Le Havre [Blu-ray]
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Produktinformation
- Alterseinstufung : Nicht geprüft
- Produktabmessungen : 1,78 x 19,05 x 13,72 cm; 113,4 Gramm
- Modellnummer : CRRN2162BR
- Untertitel: : Englisch
- ASIN : B007USWD0U
- Anzahl Disks : 1
- Kundenrezensionen:
Kundenrezensionen
4,6 von 5 Sternen
4,6 von 5
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Spitzenrezensionen
Spitzenbewertungen aus Deutschland
Derzeit tritt ein Problem beim Filtern der Rezensionen auf. Bitte versuche es später erneut.
Rezension aus Deutschland vom 6. August 2021
Rezension aus Deutschland vom 25. Juli 2015
Endlich ein wundervoller, wenngleich - dem Sujet geschuldet - recht sentimentaler Film über die Flüchtlingsthematik, anrührend aufgezogen anhand verschiedender Einzelschicksale.
Die Solidarität der Dorfbewohner & letztlich sogar des Gendarmen mag etwas optimistisch sein, auch entbehrt die plötzliche Gesundung der Frau des Protagonisten jeglicher medizinischen Grundlage... doch erstaunlicherweise tut das dem Film keinen Abbruch, er versinkt auch nicht - dank der schauspielerischen Leistungen sowie der realistisch-unpathetischen Figurenkonstellation - im Kitsch.
Toller französischer Film mit guten Schauspielern & interessanten Charakteren, bewegenden Bildern und fantastischer Musik, sehr empfehlenswert!
Die Solidarität der Dorfbewohner & letztlich sogar des Gendarmen mag etwas optimistisch sein, auch entbehrt die plötzliche Gesundung der Frau des Protagonisten jeglicher medizinischen Grundlage... doch erstaunlicherweise tut das dem Film keinen Abbruch, er versinkt auch nicht - dank der schauspielerischen Leistungen sowie der realistisch-unpathetischen Figurenkonstellation - im Kitsch.
Toller französischer Film mit guten Schauspielern & interessanten Charakteren, bewegenden Bildern und fantastischer Musik, sehr empfehlenswert!
Rezension aus Deutschland vom 21. Februar 2022
Sehr anrührend und humoristisch zugleich.
Äußerst empfehlenswert!
Äußerst empfehlenswert!
Rezension aus Deutschland vom 3. November 2014
Alle sagen das der oder jener Gott sei. Alles quatsch. Kaurismäki ist Gott allein. Keiner seiner Filme ist ästhetisch oder inhaltlich überflüssig oder vielleicht nur das Ergebnis einer Laune. Erkennt man B. B. King an einem einzigen Ton, reicht bei Kaurismäki ein Bild. Und seine Story sind einzigartig.
Rezension aus Deutschland vom 12. Januar 2013
"Le Havre" ist eine aktuelle Hafengeschichte, aber mit viel menschlicher Wärme. Gefallen haben uns das gute Drehbuch,die tollen Darsteller und die "knackigen" Sprachdialoge. Zuhause auf DVD wirkt der Film so gut wie im Kino.
Rezension aus Deutschland vom 25. August 2019
Der Film ist einfach schön, berührend und lustig, ohne dramatisch zu werden. Und es ist ein immer aktuelles Thema. Empfehlenswert!
Rezension aus Deutschland vom 26. November 2015
der Spielfilm von Aki Kaukasmäki ist schon etwas älter; passt aber hervorragend in die heutige Zeit mit den vielen Flüctlingen. Gerade, weil auch Calais und der Dschungel immer noch im Gespräch sind Ein spannender sehr emotionaler Film . Lohnt sich!
Rezension aus Deutschland vom 28. September 2019
sehr sensibel, ruhig und niemals langweilig ist dieser Film. Kaurismaeki ist eben ein echtes Genie der FIlmgeschichte.
Spitzenrezensionen aus anderen Ländern
Eriberto
5,0 von 5 Sternen
Toccante
Rezension aus Italien vom 24. August 2023
Magico ed emozionante. Bisogn
eric godichaud
5,0 von 5 Sternen
Magnifique
Rezension aus Frankreich vom 12. Juni 2023
Magnifique film du grand Kaurismaki !
J. L. Sievert
5,0 von 5 Sternen
Human kindness
Rezension aus dem Vereinigten Königreich vom 19. Mai 2018
Human kindness is not yet extinct. Or so thinks Aki Kaurismäki.
Marcel is an ageing pensioner in the French city of Le Havre. He shines shoes on the street to keep body and soul together. His wife Arletty is a homemaker. Their longstanding relationship is loving, expressed more by small acts of consideration than by the content of spoken language. A gesture or glance is enough to speak to the heart. Their eyes shine in the presence of one another.
Le Havre, Calais and other port cities along the coast of Normandy are stepping stones to Britain for refugees. Though many of them come from the warm tropical sun of Africa, Britain for them is the land of milk and honey, a sort of Shangri-La. This thought may make us smile a little, but then we’ve never had to stand inside their shoes. Comfort has insulated us from the world.
Idrissa is a boy of about 12 or 13. He arrived in Le Havre by ship in a large metal shipping container. Inside it with him were several African families, including his own.
The cops and port authorities are tipped off. They raid the container when it is placed dockside by a large, monstrous mechanical crane. Darkness is transformed to light as the doors open, the light touching the black faces within — worried, frightened, anxious faces, the camera lingering on these. Where are they? The people don’t know but they hear French spoken, so this can’t be England.
The fashion statement made by the assault team is one of intimidation and overkill, the cops dressed in Darth Vader black body armour, helmets, boots, gloves. The refugees are the opposite: wide-eyed, unprotected, vulnerable lambs.
Idrissa stands near the open doors. His grandfather nods to him, the message clear: jump and run for it when you can. He does. An automatic weapon is raised to shoot him dead. But the officer in charge (an artistically named detective called Monet) pulls the barrel of the weapon down and shouts:
“Are you crazy? He’s a child.”
Monet is fed up with lousy assignments, this being one of them. He loves busting real criminals, not incarcerating poor refugees condemned by governmental policy. If the refugees are a social and political problem for the nation, the government can solve it without him. Thus rebellious, he lets Idrissa slip away.
Marcel sees the local newspaper the next day. A front-page story says a manhunt is being mounted to catch the miscreant. From the sensational nature of the story you would think France’s security has been compromised by the boy. A new Dreyfus threatens to betray the nation.
Marcel wanders down to the wharves of Le Havre. This is where the boy disappeared. Marcel carries his shoeshine kit, as well as a baguette and some bottled water in a paper bag. He also slips in a few euros. The boy is frightened and timid, soaked to his skin in the waters of the harbour. But he appreciates the gifts and manages to follow Marcel home, eluding the cops en route. So begins the adventure of Marcel and Idrissa, Marcel hiding, sheltering and protecting the boy as they try to stay a step ahead of the cops.
Why should Marcel care? Why take the risks? At one point he describes to Idrissa the life he once led in Paris as an artist. Back then he was a bohemian who lived by his own rules, or a lack of them. He did what he felt like in the moment. All was intuition and inspiration. And passion. The passionate are the risk takers. What’s to lose if the feeling is right? In this case Idrissa feels right to Marcel. France is an abstraction, just an idea compared to Idrissa. The boy is in danger and need. How sublime then to subvert the system to help someone truly in need.
Arletty needs Marcel too. She is suffering. The pain in her stomach is acute now. Doctors at the local hospital give her little chance. Cancer, the dreaded modern disease, is spreading. She pleads with the doctors to deceive Marcel. It isn’t as bad as it seems, she tells him, saving him from the anguish of knowing the physical pain she’s in. ‘Benign’ becomes his favourite new word even though Arletty and the doctors know it’s a lie.
The game between Marcel and the authorities becomes cat and mouse. The cops are the cat and Idrissa the mouse. Idrissa scurries from place to place, staying first with Marcel, then with several neighbours. People come to love Idrissa for his disarming innocence and helplessness. They might wish to have sons like him, sons so different from all the French boys these days who lack modesty and manners.
What will happen to Idrissa? Will his dream to live in the land of milk and honey come to pass? His mother is there now — in London. His father tried to get there as well but didn’t make it. We hear he died, presumably en route. Idrissa has been travelling from Africa with his grandparents, not parents.
Salvation, it turns out, is expensive. Idrissa’s passage to Britain, if it is to happen, will not come cheaply. Shining shoes in Le Havre won’t cut it. Instead, Marcel needs an elaborate scheme. This will be connected to music.
The music, as always in a Kaurismäki film, is fabulous. In this case French rock ’n’ roll modelled on the American original. Rock is rebellious. Rock sneers at authority. Or the best early rock did. One group on stage in the film is led by Little Bob. He and his band are tremendous.
Little Bob provides indirect spiritual commentary on the act of escape. Bold persons are the ones who want to be free, and if travelling to Europe from Africa by ship in a metal shipping container isn’t bold, few things are.
Some critics love to label Kaurismäki a pessimist. But most artists examining the state of the world might fall into that category, as it’s where their honesty leads them. They aren’t likely to sugarcoat reality. As it happens, some things fall through the cracks, and human kindness and common decency can be two of them. They’re just as real as all the corruption, greed and selfishness in the world. Aki knows this and wants to remind us of it.
The film therefore isn’t dark. Only its humour is. What stays with us is the love of Marcel and Arletty for one another, the kindness and generosity of ordinary French people toward Idrissa, and the feeling of what it means to be free. Monet the detective dwells on the idea of freedom. He’s not just a cop; he’s a moral thinker as well. How does he pursue the case of the missing boy? Very eccentrically, the presiding spirit laissez-faire.
The film is a fable, a fairy tale, a moral allegory. Some of the greatest art amounts to this. There’s no doubt Aki Kaurismäki put his heart into this film, commenting as he does on the power of love and the beauty of human kindness.
Marcel is an ageing pensioner in the French city of Le Havre. He shines shoes on the street to keep body and soul together. His wife Arletty is a homemaker. Their longstanding relationship is loving, expressed more by small acts of consideration than by the content of spoken language. A gesture or glance is enough to speak to the heart. Their eyes shine in the presence of one another.
Le Havre, Calais and other port cities along the coast of Normandy are stepping stones to Britain for refugees. Though many of them come from the warm tropical sun of Africa, Britain for them is the land of milk and honey, a sort of Shangri-La. This thought may make us smile a little, but then we’ve never had to stand inside their shoes. Comfort has insulated us from the world.
Idrissa is a boy of about 12 or 13. He arrived in Le Havre by ship in a large metal shipping container. Inside it with him were several African families, including his own.
The cops and port authorities are tipped off. They raid the container when it is placed dockside by a large, monstrous mechanical crane. Darkness is transformed to light as the doors open, the light touching the black faces within — worried, frightened, anxious faces, the camera lingering on these. Where are they? The people don’t know but they hear French spoken, so this can’t be England.
The fashion statement made by the assault team is one of intimidation and overkill, the cops dressed in Darth Vader black body armour, helmets, boots, gloves. The refugees are the opposite: wide-eyed, unprotected, vulnerable lambs.
Idrissa stands near the open doors. His grandfather nods to him, the message clear: jump and run for it when you can. He does. An automatic weapon is raised to shoot him dead. But the officer in charge (an artistically named detective called Monet) pulls the barrel of the weapon down and shouts:
“Are you crazy? He’s a child.”
Monet is fed up with lousy assignments, this being one of them. He loves busting real criminals, not incarcerating poor refugees condemned by governmental policy. If the refugees are a social and political problem for the nation, the government can solve it without him. Thus rebellious, he lets Idrissa slip away.
Marcel sees the local newspaper the next day. A front-page story says a manhunt is being mounted to catch the miscreant. From the sensational nature of the story you would think France’s security has been compromised by the boy. A new Dreyfus threatens to betray the nation.
Marcel wanders down to the wharves of Le Havre. This is where the boy disappeared. Marcel carries his shoeshine kit, as well as a baguette and some bottled water in a paper bag. He also slips in a few euros. The boy is frightened and timid, soaked to his skin in the waters of the harbour. But he appreciates the gifts and manages to follow Marcel home, eluding the cops en route. So begins the adventure of Marcel and Idrissa, Marcel hiding, sheltering and protecting the boy as they try to stay a step ahead of the cops.
Why should Marcel care? Why take the risks? At one point he describes to Idrissa the life he once led in Paris as an artist. Back then he was a bohemian who lived by his own rules, or a lack of them. He did what he felt like in the moment. All was intuition and inspiration. And passion. The passionate are the risk takers. What’s to lose if the feeling is right? In this case Idrissa feels right to Marcel. France is an abstraction, just an idea compared to Idrissa. The boy is in danger and need. How sublime then to subvert the system to help someone truly in need.
Arletty needs Marcel too. She is suffering. The pain in her stomach is acute now. Doctors at the local hospital give her little chance. Cancer, the dreaded modern disease, is spreading. She pleads with the doctors to deceive Marcel. It isn’t as bad as it seems, she tells him, saving him from the anguish of knowing the physical pain she’s in. ‘Benign’ becomes his favourite new word even though Arletty and the doctors know it’s a lie.
The game between Marcel and the authorities becomes cat and mouse. The cops are the cat and Idrissa the mouse. Idrissa scurries from place to place, staying first with Marcel, then with several neighbours. People come to love Idrissa for his disarming innocence and helplessness. They might wish to have sons like him, sons so different from all the French boys these days who lack modesty and manners.
What will happen to Idrissa? Will his dream to live in the land of milk and honey come to pass? His mother is there now — in London. His father tried to get there as well but didn’t make it. We hear he died, presumably en route. Idrissa has been travelling from Africa with his grandparents, not parents.
Salvation, it turns out, is expensive. Idrissa’s passage to Britain, if it is to happen, will not come cheaply. Shining shoes in Le Havre won’t cut it. Instead, Marcel needs an elaborate scheme. This will be connected to music.
The music, as always in a Kaurismäki film, is fabulous. In this case French rock ’n’ roll modelled on the American original. Rock is rebellious. Rock sneers at authority. Or the best early rock did. One group on stage in the film is led by Little Bob. He and his band are tremendous.
Little Bob provides indirect spiritual commentary on the act of escape. Bold persons are the ones who want to be free, and if travelling to Europe from Africa by ship in a metal shipping container isn’t bold, few things are.
Some critics love to label Kaurismäki a pessimist. But most artists examining the state of the world might fall into that category, as it’s where their honesty leads them. They aren’t likely to sugarcoat reality. As it happens, some things fall through the cracks, and human kindness and common decency can be two of them. They’re just as real as all the corruption, greed and selfishness in the world. Aki knows this and wants to remind us of it.
The film therefore isn’t dark. Only its humour is. What stays with us is the love of Marcel and Arletty for one another, the kindness and generosity of ordinary French people toward Idrissa, and the feeling of what it means to be free. Monet the detective dwells on the idea of freedom. He’s not just a cop; he’s a moral thinker as well. How does he pursue the case of the missing boy? Very eccentrically, the presiding spirit laissez-faire.
The film is a fable, a fairy tale, a moral allegory. Some of the greatest art amounts to this. There’s no doubt Aki Kaurismäki put his heart into this film, commenting as he does on the power of love and the beauty of human kindness.
joaquin canovas
5,0 von 5 Sternen
Muy buena
Rezension aus Spanien vom 20. Januar 2017
Delicada, sensible, inteligente, real y poética a la vez, con final feliz, lo que seguramente habrá disgustado a los franceses.
Blue Leaf
5,0 von 5 Sternen
A wonderful, treasure of a film
Rezension aus den Vereinigten Staaten vom 11. Januar 2013
It takes alot these days for me to fall in love with a film but that is just what I did with the French film Le Havre (2011). The film was directed by Finnish director Aki Kaurismaki who also directed The Man Without a Past (2002). It is a story, or possibly a fable, about an immigrant African boy who becomes stranded in the French shipping port of Havre on the coast where the Seine river meets the English Channel. He was on his way to London, hiding in a cargo container, when the police opened it up and he ran away. The whole story then becomes about an eldery man, Marcel Marx, played by Andre Wilms, who, once was a Bohemian writer, possibly in Paris, now works as a shoe shiner around the train station. He befriends the boy, named Idrissa, and he, along with his neighborhood friends, make it their purpose to get this boy to London anyway they can. Meanwhile, Marcel's wife Arletty has become critically ill and is in the hospital for treatments. It is a simple yet poignant story of what can get accomplished when people work together for a common good. The highlight for me was when the neighborhood puts on a benefit concert starring a man named Little Bob who comes out of retirement to rock and roll. It is a beautiful and funny scene. The cinematography is somewhat muted and we see the pale rainbow colors of the homes and the slow and steady lifestyle of the people in neighborhood each one accepting each others talents, faults and idiosyncracies. I usually prefer films with quick and original dialogue but with Le Havre I just sat back and relaxed and wished I lived in one of the tiny homes while enjoying the little things that life has to offer.
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