Amazon.com
This sumptuous film follows the story of a marriage caught in the turmoil of social change. The beautiful Emmanuelle Béart portrays Pauline, wife of the heir to a prosperous porcelain industry. In 1900, when first she meets her future husband, Jean Barnery (Charles Berling), he's a Protestant minister unhappily married to another woman (Isabelle Huppert). After a scandalous divorce, Jean and Pauline marry and move to Switzerland, where they live a briefly idyllic existence, but Jean is drawn back into the family business, which is rocked by the rise of unions, the brutality of World War I, and the economic depression that followed. Throughout, Pauline fights to retain some semblance of their original love.
Les Destinées manages to be both intimate and epic, every scene built from carefully observed details in setting and psychology. In the end, the portrait of an enduring marriage is richly affecting.
--Bret Fetzer
The air is soft, and everyone speaks in clipped tones in this sumptuous yet relaxed French epic that begins in 1900 and traces the interlocked affairs of two large haut-bourgeois Protestant families, one of which controls a cognac company in the Charente section of France, and the other a porcelain factory in Limoges. The hero, Jean Barnery (Charles Berling), an intense, fine-grained young man, who is a minister in the fictional town of Barbizac, dismisses the wife he doesn't love (Isabelle Huppert) and drops out of the ministry in shame, only to fall in love with the ravishing young Pauline (Emmanuelle Béart). Unlike such comparable family epics as Visconti's "The Leopard" and Bertolucci's "1900," the movie is unemphatic and largely fleeting-the most substantial moments pass in a semi-whisper. The visual scheme appears to be derived from Bonnard and Vuillard. Directed by Olivier Assayas and based on a novel by Jacques Chardonne. In French. -David Denby
Copyright © 2006
The New Yorker