Tockinit
not horrible nor great
Supelice
Dreadfully Boring
Ava-Grace Willis
Story: It's very simple but honestly that is fine.
cyber-butt
Having seen and loved Sokurov's earlier film "Russian Ark", I found "Francofonia" a disappointment.While "Russian Ark" also switches its scenes from one historical period to another, in that film it all came together into a coherent whole through its setting inside the Hermitage, as well as by its groundbreaking single take. "Russian Ark" was an astonishing cinematic tour de force. In comparison, "Francofonia" is just an incoherent jumble of unrelated thoughts.The theme that gets the most attention in "Francofonia" is the period of the German occupation of Paris in WW2, when the Louvre's collection was evacuated and stored in various chateaux and other locations throughout France as a precaution against the chance that Paris would be bombed later in the war. Interspersed with this is a series of vignettes on mostly unrelated subjects. We see the emperor Napoleon telling the viewer how the best of the Louvre's art collection was brought to France by him as spoils of war; footage of Hitler being escorted around Paris to admire the Eiffel Tower, the Champs Elysées and other monuments; scenes from the siege of Leningrad; a bit on the policies of Marechal Pétain, leader of the collaborationist Vichy government; a history of the Louvre building since its beginnings as a fortress in the middle ages; and a lament about the risks of transporting art treasures in ships over the high seas. Throughout the film we hear the voice of the narrator, speaking in Russian.It all comes across as a dose of revisionist history, where the underlying message seems to be: "The French were smart and did themselves a great favor by going along with the German occupation during the war, as witnessed by the fact that the Germans kept their hands off the Louvre's collection so that it survived the war intact. The Nazis were very cruel to us Russians, but on the whole they were not so bad." I didn't buy it.
GManfred
Director Sokurov eschews the usual form for this type of film, which would be documentary, in favor of a sort of historical drama. It switches back and forth from the present era to WWII to the 18th century. It is an attempt to explain the history of The Louvre by integrating several different phases in its existence; The acquisition of much of the artwork by Napoleon in his conquests, transporting it out of harms way before the Nazi occupation, and a contemporary recap of the logistics and hazards involved in each phase.Can I be frank? I found the whole exercise somewhat confusing. I would get the gist of a particular scenario, only to have the director switch gears and move to another era and another circumstance, and having to readjust my focus and concentration on this new problem (where are we now?, I kept asking myself). I enjoyed glimpses of the Great Hall, the Mona Lisa and several other treasures that go to make The Louvre the epicenter of western culture. All I was asking was a little clarity.Maybe he just could have made it a documentary.
cdcrb
this is not really a movie, nor a documentary or any other kind of description I can think of. if you are a history buff, that would be helpful. the story is the louvre and its art and what happened to both when Hitler invaded in ww II. we follow the administrator of the museum and the Nazi art maven sent to Paris to look after the louvre. some would know the history of what happened, but even so, there is a story to be told and a lot to learn. there is a cameo by a person very important to the formation of the museum and its significant art collection. sokurov is a wonderful director and has a flair for telling stories. if you like grown up experiences go and have fun. I did.
JPfanatic93
Francofonia is an intriguing compendium piece to Sokurov's breakthrough film Russian Ark, though it lacks the stylistic punch of that particular film. Of course, doing another 100-minute one-take shot would have felt repetitive, as if the director attempted to capitalize on his own past glory. So there's none of that in Francofonia, but that's not to stop Sokurov from pulling a few more cinematographic tricks out of his hat. That, and the overall message, matters more to him than following conventional narrative expectations. Which is made clear a bit painfully, as Francofonia is literally all over the Louvre, rather than sticking to the single time frame that one would have expected to be the primary focus. Even though the museum's survival of the war years during WW II appears to be the subject at hand, Sokurov has a lot more to tell about the place's long history, not to mention sharing his personal thoughts on both the Louvre's background, its place in art history and the treatment of art in general. That's a lot to tackle for a 90-minute movie...And of course, as a result, not every episode of the Louvre's story proves as interesting. In fact, all of the film suffers from Sokurovs tendency to change subjects, drone on about the abuse and capitalization of art works and sudden jumps to different time periods. Nevertheless, the message remains clear: museums should not be reduced to pawns of commerce, politics or dictators. They are time capsules that tell all of human history and should be carefully preserved, kept well away from the power hungry. The German occupation is just an example of and an homage to a period in history where the joining of forces between two like minded men, who by all accounts ought to be diametrically opposed, preserved countless artifacts for posterity. Sokurov thanks both men for their assistance to cultural history. But he also isn't afraid to remind us that the origin of the Louvre itself is steeped in conquest and theft. After all, the emperor Napoleon captured many pieces of art on his campaigns abroad and had them shipped to the capital of his empire. Hitler simply attempted to do the same and failed in the Louvre's case, while succeeding in a lot of other cases. Art and politics certainly aren't mutually exclusive.It's a point Sokurovs makes with the help of various stylistic choices, some proved in prior works, others applied for the first time in his case. Though there are no excessively long takes used as there were in Russian Ark, his introduction of historical characters sharing their insights and motivations with us is taken straight from that film. In this case restricted to only two characters (Marianne, the French Spirit of Freedom and Napoleon), rather than many. This is not a coincidence of course, as Francofonia's main tale also deals with two characters, the museum director (representing the side of French freedom) and the Nazi officer (the conquering party, the Napoleonic figure). Their story is intercut with historical footage, while it is itself disguised as historical footage by its old fashioned framing and the many print scratches applied. It would have worked even better if it was in black and white, but apparently Sokurov disagreed. He disagrees with a lot of things in Francofonia. Like art being shipped over seas as any other piece of cargo in containers on large freighters, its very existence threatened by a violent storm. Why does art suffer so much indignity and indifference today, he laments. No matter how fragmented his thoughts as shown in Francofonia, it's hard to disagree with him, when ancient buildings and statues are demolished left and right by zealous barbarians, who are also eager to simply sell such cultural heritage to the highest bidder to fund their cause. World War II may have ended seventy years ago, but art remains ever in danger at the hands of subversive ideologies. Francofonia serves as an cautionary reminder of what could be scrapped from the history pages forever if we are not careful and respectful of art's place in our cultural mind.
