Product Description

From internationally acclaimed director Volker Schlöndorff (The Tin Drum) and starring Academy Award® winner Jeremy Irons(Reversal of Fortune, Dead Ringers) comes Swann In Love, a tale of obsessive love set against the colorful backdrop of Paris in the 1890s. Swann (Irons) falls in love with a young courtesan, and soon finds himself tormented by his unrelenting sexual desire. Based on the novel by Marcel
Proust, Swann in Love is a visually stunning film, bursting with life, love, and passion.

Product Details

• Amazon Sales Rank: #67143 in DVD
• Brand: Image Entertainment
• Released on: 2004-06-08
• Rating: R (Restricted)
• Aspect ratio: 1.66:1
• Formats: Anamorphic, Color, DVD, NTSC
• Original language: English, French
• Subtitled in: English
• Number of discs: 1
• Running time: 110 minutes

Amazon.com
Everybody talks about reading Proust's Remembrance of Things Past, but do you know anyone who actually has? Here's a way to fake it: this film from Volker Schlöndorff dramatizes one section of the ponderous novel, casting Jeremy Irons as a French aristocrat who makes himself something of a laughingstock with his obsessive pursuit of a faithless courtesan (or is that redundant) played by Ornella Muti. Some may find it slow going, but the film moves a lot faster than the book. And there is a certain hypnotic appeal to it, enhanced by Sven Nykvist's lush cinematography. Besides, is there an actor in movies today who can convey more emotional agony in a single longing look than Irons? --Marshall Fine

Customer Reviews

A modern reinterpretation - thanks to the music
Terrific costuming and production design, most noteworthy is the luminous camerawork of Sven Nykvist (Bergman/Allen/Tarkovsky and others). The film is paced as languidly as narrative film making will permit, allowing a certain quality of the author's voice to be felt beneath the demands of "storytelling", one of the chief obstacles in adapting this material.

I think that a masterstroke in this film is the music. While it may seem inconsequential, it draws the film into a more complex direction than typical period music would have done. I believe that this allows the film to reinvent the quality of emotional space in the material.

Contemporary composers of modern chamber music like Hans Werner Henze (who'd collaborated with Schlondorff before) were brought into the making of the film. The music succeeds by injecting an atonal, dissonant, aching, atmosphere into the story. The piano and violin pieces work well against typical form and aid the narrative in a superbly contemplative manner. I was reminded somewhat of "L'Année dernière à Marienbad", simply because the musical "cues" were not spelled out in simple terms.

Avoiding kitsch is part of the problem when adapting an author who discusses subjects (in epic detail) which have been filmed a thousand times before - in my opinion, the music permits yet another interpretation of that subject. At first its quietly unusual, becoming a defined, twisting voice, accenting the growing dissonance Swann experiences with Odette and ultimately with society.

It is a beautiful film. My only concerns were the occasionally odd voice-over work, which was a little distracting. Ornella Muti is a knockout, but her beauty seems oddly contemporary - its as if the filmmakers were trying to make the statement that voluptuousness is eternal, while beauty standards shift periodically and culturally. Irons is excellent as Swann. I would highly recommend the film.

Surprisingly thought-provoking, though deeply flawed
I rented this video because I had discovered Ornella Muti in the small role of Mercedes in the recent French miniseries of The Count of Monte Cristo and wanted to see more of her. The movie is well-worth seeing for her alone. She is amazingly beautiful, although in playing Odette de Crecy she combines powerful sensuality with a slight vulgarity that seems appropriate to the character she is playing, even though it detracts a little from her beauty.

One of the reviews jokingly suggested that seeing this movie would allow you to pretend that you had read the novel. I strongly disagree. I suspect that anybody who has not read the novel would find this movie pretty hard to follow and even harder to like. It's probably true that Proust is an essentially unfilmable writer. But, having conceded that, it is surprising how much subtlety and insightful reading is displayed in this movie. I am generally a pretty careful reader, but in watching this movie I had the experience several times of seeing things that I thought were changes from the novel and then, when I went back to the text I found that they were there all along and I had simply missed them.

This is mostly true in Muti's portrayal of Odette, which is not only much more sympathetic, but also much more complex than the view of her I remembered from reading the book. In fact, for me, the subtlety of Muti's performance has opened up a whole new possibility of interpretation of the role in the Proust novel of a character who is normally treated by readers with the same kind of contempt with which she is regarded by many of the novel's characters, including (most of the time) Swann himself.

Now, on the negative side: I found the portrayal of Swann much less successful. The problem is not so much with Jeremy Irons' performance, which more than adequate, but what the screenplay leaves out in his case. Apart from Swann's jealosy and longing, which are fully in evidence here, Swann's character in the novel is presented mainly through his interest in art -- his unfinished writing on Vermeer and, most of all, his very complex responses to music.

Therefore, the treatment -- or, rather, mistreatment -- of music is the most serious failing in this movie. One Amazon.com reviewer said that the music in the movie was by Cesar Franck. I only wish it were so. If that is what he heard, he must have listened to a completely different sound track from the one that I heard. According to the credits, Hans Werner Henze was responsible for the music, and three other contemporary composers are also credited, but Cesar Franck is not mentioned, and the music I heard sounded like a bad imitation of Debussy. But, in addition to the poor quality of the music, the movie is completely unsuccessful in conveying the central importance it has in the novel. And, to make matters worse, when the music is for piano, it is played on pianos that are grotesquely out of tune, as if the director thought that having the pianos out of tune added to the period authenticity of the movie!

Notwithstanding all of that, this is a movie I would gladly watch again. It is thought-provoking and it has one truly great performance -- that of Ornella Muti.

For Proust fans
It seems Marcel spent a great deal of time writing "Remembrance..." and I spent almost as much time reading it-but it was worth it. As difficult as the novel is to read, one doesn't have to get too far into it to realize that the author was a genius with words. I think to have any appreciation for the movie and for Jeremy Irons performance, it's best to have read the book. Otherwise you might find Charles Swann completely insufferable and the movie boring. But for those who have read it, I think you will find Irons performance maddeningly perfect. Ornella was beautiful,and I agree with the reviewer that the movie, at the very least, gives one an idea of the fashion and style that made up the early years in young Marcel's social life.