Se tratando de uma cinebiografia o nivel se eleva nas alturas quando o diretor coloca como uma fabula. O personagem de gainsbourg é apaixonante. Mas depois de sessenta minutos de filme a coisa desanda quando o diretor apressa a história em míseros setenta minutos restantes. Quem não conhece alguns fatos importantes da vida de gainsbourg fica perdido.
I don't know if I want to be a fan of this or not. I had a good experience watching it and all, but it felt like someone just threw the scenes in randomly to produce this monster. But I loved the beginning of it. It's too bad, really - I am a huge fan of Gainsbourg. I just don't think he'd like this movie if he'd seen it. Just my opinion.
The insights I gained from the film, if any? "Love goes astray throughout life," and "life is chance working against destiny," per his lyrics and film dialog, respectively. Not all of the elements work, and the film would benefit from a shorter run time, but by and large I enjoyed this. Like the director, maybe I also "prefer Gainsbourg's lies to his truth, his dreams to his reality." Cool puppets. 3.5 stars
o filme me pareceu misógino, ao apresentar sem porques, um gainsbourg "natural born seductor", de forma bastante apática. os personagens lúdicos parecem não se encaixar no filme quando na transição infância/ juventude. além disso "vie heroique" me parece um exagero enorme.
At its best this film contained a lot of dreamy, creating sequences of the man himself and at its worst it was a collection of events presented chronologically with the image of Gainsbourg presented as the one and only interesting bit about him; the soul was lacking. But, when it showed, I think it sometimes gleamed, as often when Gainsbourg was portrayed as a little boy, surrounded by his big papier-mâché self.
I really liked the filming, the cinematic aspect - most of it. What disturbs me is the explicative and the apologetic. The Demon moving SG to do stuff he wouldn't do otherwise and the like is not especially original or moving in this context. And while more or less unimportant strands find their conclusion (lying in the street with Boris Vian, for example), the driving moments are left hanging (the redhead).