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Marguerite (2015)

3.4 of 5 from 57 ratings
2h 9min
Not released
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1921, the beginning of the Golden Twenties. Not far from Paris. It is party day at Marguerite Dumont’s castle. Like every year, an array of music lovers gathers around a great cause at the owner’s place. Nobody knows much about this woman except that she is rich and that her whole life is devoted to her passion: music. Marguerite sings. She sings wholeheartedly, but she sings terribly out of tune. In ways quite similar to the Castafiore, Marguerite has been living her passion in her own bubble, and the hypocrite audience, always coming in for a good laugh, acts as if she was the diva she believes she is.
When a young, provocative journalist decides to write a rave article on her latest performance, Marguerite starts to believe even further in her talent. This gives her the courage she needs to follow her dream. Despite her husband’s reluctance, and with the help of a has-been divo, both funny and mean, she decides to train for her first recital in front of a crowd of complete strangers.
, , , , , , , , , , , , Martine Pascal, Grégoire Strecker, , , , Joël Bros, Lucie Strourackova,
Marcia Romano, Xavier Giannoli
Comedy, Drama
Release Date:
Not released
Run Time:
129 minutes

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Reviews (1) of Marguerite

Dreaming Of Sweet Things. - Marguerite review by NC

Spoiler Alert

Craving love and attention, (specifically, so we are told, from her husband), Marguerite Dumont, with all the pride and folly that only great wealth can bring, believes herself to be a singer of worth. High society encourages her, but snigger and call her a 'freak' behind her back.

It's too difficult to get excited, or even remotely interested, in the concerns of the overprivileged, and the hypocritical beau monde. We are asked to feel sympathy for Marguerite, and even a little bit for her husband. But they have chosen their life. Georges has even married Marguerite for her riches and connections. Anybody with an atom of decency would know full well the kind of people who move among these dinner parties and private recitals. Georges eventually, and correctly, calls them 'turds', but it is only because they have attacked his wife, not because he has suddenly found out what they (and he himself for that matter) are really like.

One thing only kept me watching: Catherine Frot. Rarely have I seen such a range of emotions conveyed through the eyes alone: the emptiness of a life without love and affection; the need for some kind of fulfillment; trust; the anticipation,and trepidation at the same time, of her dreams at last becoming reality. It's a standing ovation performance, worthy of a more important film.

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