Never expected a film on this period from an attempt at an objective point of view. Much of the film mirrors the two protagonist's attempt to manifest their idea's in a compact simple direct and understandable way so that, the masses of working class people may understand and take part. Despite potential didactic pitfalls the drama comes though, in particular the last exchange between Jenny and Mary Burns.
Marx and Engels in a Benny Hill ass chase scene running from police, Marx and Engels getting fucked up and vomiting on the street, Marx and Engels playing chess, Marx and Bakunin playing chess. Marx fucking his wife. Marx and Engels on the beach. And every once in a while one turns to the other and says like "You ever notice how the history of all hitherto existing society is the history of class struggle?" It's fun.
How do you take a historically significant character with an entire canon of complex philosophical ideas and present it to the world. It's not easy business and I don't know how fair Raoul succeeds in that. It stands as a introductory biopic to Marx' work with a heavy focus on his friendship with Engels. Yet so much more could have been explored. Paris Commune still stands out in my humble opinion.
A bit of a paint-by-numbers underwhelming assemblage but I don't hold it against the film that it's actually an introduction to young Marx. What is less excusable is the hagiographical reverence that smacks of tired old Leninist cliches (the good, saintly Marx; Engels the self-overcoming boujie-renouncer) even as it tries to be cool and rooted in history. Still, enjoyable enough.
At some point, I just gave myself to the bishounen marketing of this film. Conversely, I expected a higher dose of homoeroticism, but I took whatever was there. The fact that so much is dictated to the viewer, including historical encounters full of crammed-in references, makes it entertaining at some point. Could it be that Proudhon was such a stuck-up buffoon? And then again, why wouldn't he be?
my sister told me about this one that only until late in the film she got to figure these people were communists. so i guess she's this movie's audience, for it is as the trailers would have one guess, an educational film, conventional, though a relatively good one at it, well made and concise. The acting is good, considering that other than Marx and Jenny the movie has no characters but stand-ins for [continues...]
Digital. Were we so in need of one more biopic about a historical figure? See the beginning and the end of the film: illustrative or correlated visual digests of what is said in off. Only the initial one could make me leave with its slow motions, crane movements, infernal pious-vocal music and human figures that comes just as models of a situation. Neither fair nor right, i must say.
A revolution caracter in a conventional film. It's quite sad seeing so many figures that I deeply admire, like Marx, Arendt, Zweig (just a few recent exemples) treated without the same vitality of their work. This type of film usually use their biography and work without questioning, like making a temporal puzzle where everything is combine to make a simplistic portrait.
Better than its reputation. Still feels a little bit cheesy at some point and maybe the wrong form for what it tries to say, but it has a concern that goes beyond telling a life story or showing some revolutionary romanticism. Analysis of reality and the postulation of a profound theory afterwards comes before action. Quite interesting as well in the depiction of the infighting within the leftist philosophic circles.