Description

Nominated for five Academy Awards including Best Original Screenplay, this magical comedy earned overwhelming acclaim nationwide! A painfully shy waitress working at a tiny Paris cafe, Amelie makes a surprising discovery and sees her life drastically changed for the better! From then on, Amelie dedicates herself to helping others find happiness ... in the most delightfully unexpected way! But will she have the courage to do for herself what she has done for others? ... Read more

Reviews (807)

A heart-shaped French delicacy!!!
Amelie is a rare delight. The title character is a painfully shy loner who discovers a small box filled with a little boy's keepsakes. She seeks the rightful owner of the box. The charm of this film is that Amelie wants to perform her little miracles, hiding in the shadows, with no recognition for herself. The characters in this piece are fascinating, each one reflecting back a facet of Amelie's personality. In the end, Amelie's compassion ends up being her own salvation - and that is what makes the film so much of a joy to watch. Hollywood has pretty much exchanged emotion and subtlety for rudeness, crudeness, and over processed digital special effects. Like a good French wine, this motion picture is an experience to be savored - not devoured. Amelie has a look and feel that stands out from anything I've seen in recent years. So many modern films are filtered with a grayish or orange tint, which tricks the viewer's eye into thinking it is watching a stark, gritty documentary. Steven Soderbergh seems to be the reigning master of this technique. Amelie by contrast, with it's deep reds and fluorescent and forest greens accented by cobalt blues and electric yellows, transports you to a world full of magic and hope. The effect is enchanting.

The DVD package is complete with commentaries and documentaries on the making of the film. These added features make it clear that this film was carefully planned by director Jean-Pierre Jeunet, much like "The Sixth Sense." Shots were storyboarded, set up, and orchestrated months in advance. And any extra footage of Audrey Tautou is always welcome in my home. A blend of the beauty and grace of Audrey Hepburn, the humor and physical skill of Charlie Chaplin, and the vulnerability of early Winona Ryder, and the sultry elegance of a sixties European model. Her method of using her eyes, facial expression, and body language (relying less on verbal expression) to create a character is what helps makes Amelie transcend language barriers.

I was a little disappointed there wasn't a version with dubbed English, but after 15 minutes or so, I didn't even notice that I was reading subtitles. There were more than quite a few belly laugh moments, and it became very apparent that this is one of those rare films that is so good it completely transcends culture, language - the universal message is "The good you do for others returns - especially when you don't expect it to." A French delicacy. I just hope we get to sample more of Jeunet, Tautou, and the rest of this team's products soon. Thanks, Miramax.

A Mainstream Hit Dipped In Euro-Sauciness!
The lack of any decent films from the English lingo countries of England and America has given rise to an increase in recognition of some of the finer foreign language exploits into cinema. Earlier this year we had "Amores Perros", and in England we had Japanese shock-fests "Audition" and "Battle Royale" (the latter has to be seen to be believed). The most successful foreign language film this year, bar "Crouching Tiger Hidden Dragon" obviously, was this French trifle that whilst appealing to the fickle tastes of mainstream audiences superbly serves up its romantic hokiness in a touching and cute way. Over-hyped, to be sure, but not without its pleasures.

Jean-Pierre Jeunet's "The City Of Lost Children", which he co-directed with Marc Caro, bears the most resemblance to the look of "Amelie", which looks different to any other film this year with all of its rich, antique-looking cinematography as well as its inclusion of several effects shots that help to render Paris as paradise on Earth. Visual coups include Amelie herself collapsing to the ground as a puddle of water and the titular garden gnome that travels the world much to the chagrin of its owner, Amelie's father. Everything smacks of resplendence in this movie and no cinematic trick is left not utilised.

In all respects, "Amelie" is likely to play better in America than it should in Europe, where its cute benevolence will be welcomed by many, especially after September 11. If you are one of those people who can't help but giggle as bug-eyed little girls stare into the camera with a cheeky smile, then this film is for you (indeed, Audrey Tautou is bug-eyed, cheeky and very good in the title role). If you are like those who criticised "Amelie" for its lack of interracial characters, then don't bother: this beguiling trifle is a fantasy, pure and simple, like "Amelie" herself.

Green and Red beauty and smiles
A beautiful movie about a simple, and pretty weird girl. Pay particular attention to the beautiful color selection and Audrey Tautou's flawless acting. Amelie is the feel-good movie of our times and is sure to bring a smile to anyone's face.

really, what's so great about this?
Its quirky and pretty and all, but then it turns into a typical love story in the end. Dissapointing, I would rather it be a film where she makes everyones lives nicer, and this importance isn't placed on her Only Being Happy If She Gets The Guy. The actress is really pretty, there are nice scenes and ideas, parts are funny, but I don't understand why it has this cult status.

Lithe and awake.
Jean-Pierre Jeunet makes a welcome return to his home country after the loud but pedestrian 'Alien Resurrection'. In 'Amelie' Jeunet seems to have taken as much influence from Danny Boyle as Francois Truffaut. The accelerated jump-cuts, tracking shots and zooms all make for high-octane energy even if most of it is artifically created. Although 'Amelie' herself is almost too twee to identify with, many of the other characters' faces simmer with restrained intensity (increasingly becoming a Jeunet trademark.) The acting is above average (exception being the always good Domnique Pinon), but it's the quality of the storytelling that shines. Trust the French to be able to remind us that cinema is still relevant in it's second century, that evocative minor epiphinies such as running your hand through grain or the sights and sounds of a market are not just the preserve of the written word but can actually be rendered on screen (and still find an audience!). Through imaginative editing, camerawork and a little help from CGI, Jeunet's film packs in more incident and wonder than most of today's novels are capable of producing. ... Read more

Reviews (807)

A heart-shaped French delicacy!!!
Amelie is a rare delight. The title character is a painfully shy loner who discovers a small box filled with a little boy's keepsakes. She seeks the rightful owner of the box. The charm of this film is that Amelie wants to perform her little miracles, hiding in the shadows, with no recognition for herself. The characters in this piece are fascinating, each one reflecting back a facet of Amelie's personality. In the end, Amelie's compassion ends up being her own salvation - and that is what makes the film so much of a joy to watch. Hollywood has pretty much exchanged emotion and subtlety for rudeness, crudeness, and over processed digital special effects. Like a good French wine, this motion picture is an experience to be savored - not devoured. Amelie has a look and feel that stands out from anything I've seen in recent years. So many modern films are filtered with a grayish or orange tint, which tricks the viewer's eye into thinking it is watching a stark, gritty documentary. Steven Soderbergh seems to be the reigning master of this technique. Amelie by contrast, with it's deep reds and fluorescent and forest greens accented by cobalt blues and electric yellows, transports you to a world full of magic and hope. The effect is enchanting.

The DVD package is complete with commentaries and documentaries on the making of the film. These added features make it clear that this film was carefully planned by director Jean-Pierre Jeunet, much like "The Sixth Sense." Shots were storyboarded, set up, and orchestrated months in advance. And any extra footage of Audrey Tautou is always welcome in my home. A blend of the beauty and grace of Audrey Hepburn, the humor and physical skill of Charlie Chaplin, and the vulnerability of early Winona Ryder, and the sultry elegance of a sixties European model. Her method of using her eyes, facial expression, and body language (relying less on verbal expression) to create a character is what helps makes Amelie transcend language barriers.

I was a little disappointed there wasn't a version with dubbed English, but after 15 minutes or so, I didn't even notice that I was reading subtitles. There were more than quite a few belly laugh moments, and it became very apparent that this is one of those rare films that is so good it completely transcends culture, language - the universal message is "The good you do for others returns - especially when you don't expect it to." A French delicacy. I just hope we get to sample more of Jeunet, Tautou, and the rest of this team's products soon. Thanks, Miramax.

A Mainstream Hit Dipped In Euro-Sauciness!
The lack of any decent films from the English lingo countries of England and America has given rise to an increase in recognition of some of the finer foreign language exploits into cinema. Earlier this year we had "Amores Perros", and in England we had Japanese shock-fests "Audition" and "Battle Royale" (the latter has to be seen to be believed). The most successful foreign language film this year, bar "Crouching Tiger Hidden Dragon" obviously, was this French trifle that whilst appealing to the fickle tastes of mainstream audiences superbly serves up its romantic hokiness in a touching and cute way. Over-hyped, to be sure, but not without its pleasures.

Jean-Pierre Jeunet's "The City Of Lost Children", which he co-directed with Marc Caro, bears the most resemblance to the look of "Amelie", which looks different to any other film this year with all of its rich, antique-looking cinematography as well as its inclusion of several effects shots that help to render Paris as paradise on Earth. Visual coups include Amelie herself collapsing to the ground as a puddle of water and the titular garden gnome that travels the world much to the chagrin of its owner, Amelie's father. Everything smacks of resplendence in this movie and no cinematic trick is left not utilised.

In all respects, "Amelie" is likely to play better in America than it should in Europe, where its cute benevolence will be welcomed by many, especially after September 11. If you are one of those people who can't help but giggle as bug-eyed little girls stare into the camera with a cheeky smile, then this film is for you (indeed, Audrey Tautou is bug-eyed, cheeky and very good in the title role). If you are like those who criticised "Amelie" for its lack of interracial characters, then don't bother: this beguiling trifle is a fantasy, pure and simple, like "Amelie" herself.

Green and Red beauty and smiles
A beautiful movie about a simple, and pretty weird girl. Pay particular attention to the beautiful color selection and Audrey Tautou's flawless acting. Amelie is the feel-good movie of our times and is sure to bring a smile to anyone's face.

really, what's so great about this?
Its quirky and pretty and all, but then it turns into a typical love story in the end. Dissapointing, I would rather it be a film where she makes everyones lives nicer, and this importance isn't placed on her Only Being Happy If She Gets The Guy. The actress is really pretty, there are nice scenes and ideas, parts are funny, but I don't understand why it has this cult status.

Lithe and awake.
Jean-Pierre Jeunet makes a welcome return to his home country after the loud but pedestrian 'Alien Resurrection'. In 'Amelie' Jeunet seems to have taken as much influence from Danny Boyle as Francois Truffaut. The accelerated jump-cuts, tracking shots and zooms all make for high-octane energy even if most of it is artifically created. Although 'Amelie' herself is almost too twee to identify with, many of the other characters' faces simmer with restrained intensity (increasingly becoming a Jeunet trademark.) The acting is above average (exception being the always good Domnique Pinon), but it's the quality of the storytelling that shines. Trust the French to be able to remind us that cinema is still relevant in it's second century, that evocative minor epiphinies such as running your hand through grain or the sights and sounds of a market are not just the preserve of the written word but can actually be rendered on screen (and still find an audience!). Through imaginative editing, camerawork and a little help from CGI, Jeunet's film packs in more incident and wonder than most of today's novels are capable of producing. ... Read more

Reviews (37)

A French Comedic Classic, Finally in the US!
Well, for quite awhile, this DVD was not available in the US, and even hard to find in its native France. It was a nice surprise to finally see it appear stateside, and hopefully, it's appearance will garner some more attention to French comedies. The story focuses around a nobleman who, along with his oafish servent, is transported forward in time to modern day France. In their new surroundings, they must deal with life in the modern world, as well as try to figure out how to return to their own time. Christian Clavier and Jean Reno do outstanding jobs as the misplaced main characters, and the movie moves at such a pace, that it offers plenty of laughs. Do yourself a favor and check this movie out if you're never seen it, you won't be disappointed.

Tres, tres, bien!!
I watched this video in Fench with Eglish sub titles in my french class.

It is a very funny movie about 1 midevil knight and his servant. They go forward in time on accident when they drink a potion that is supposed to make the knight able to change the corse of an aarow that kills his belovede's father. His love won't marry him then and all he ever wanted was to have a family and decendents.

Once they show up in the present day, everyone thinks the kningt is the long lost cousin of this one girl, who is really the knigt's decendant.

It is hallarious the way the midevil knight and servant react to modern things. They don't realize what time they are in.

This movie has a twist and a problem at the end, which I guess is fixed in the second movie. We are in the middle of watching it (it is Les Visiteurs 2 I think), but it's no as easy to understand for me because there are not English subtitles in the version we are watching.

The only reason this movie is rated R is because there is a lot of bad words. In France (where it is origionally from), i think it was only rated PG, but i'm not that sure, so don't take my word for it.

Have a fun time watching Les Visiteurs!!!!!!!

French Version Much Better
The original movie "Les Visiteurs" is so good, its a pity they had to spoil with the Americanized version - "Just Visiting" - which is at best an insult on the intelligence of the American viewing public.

Although the original movie is in French with English subtitles, they have done a tremendous job with the subtitles - translating a kind of "medieval" French into a comparable type of old English (modern swearwords included). In fact, the job is done so well that we had a lot of laughs just by comparing the film's verbal antics to the translation. Even though I do not speak French myself, it is quite clear that a lot of effort had gone into this. Sometimes the conversations are fast and furious, so it's worthwhile to see the movie a second time. Even on the second pass, there was a lot to laugh at.

The original was meant to be slapstick and the story is a total farce, but I thought it was well done, and very well executed. Even though this whole thing is intended as a joke, the reactions of the medieval guys are quite believable. Both versions star Jean Reno and Christian Clavier, but unfortunately that is not enough to save "Just Visiting", which I can at best award two stars. In contrast, the original effort is a blast and worth at least 4 stars.

If you can, try to obtain the French version. It's worth the trouble!

Clever, intelligent, sweet, not a movie for morons
We watched this movie in French class. I may have been prejudiced before the first frame ran, as I absolutely adore Jean Reno, but I LOVE this movie. The sight gags and innuendos are priceless, and I have to say this is the first "time travel" movie that I actually liked. If you do not like this movie, it's because you don't get it!!

The Most Pathetically Terrible Movie I Have EVER Seen
I am a terrible movie afficianado, and this one was the creme de la creme of terrible movies. The 'plot' centers on a count and his vassal from 1076 who are magically transported into 1996 by a senile sorcerer. As you can imagine, wackiness ensues. Unfortunately, nowhere in the entire movie does an actual story line emerge, and the characters are completely obnoxius. This is unfortunate, as there are some very skilled actors and actresses in the movie. If you like garbage, then watch this movie. Otherwise, save your money to buy something worth watching. ... Read more

Reviews (4)

Powerful Recreation of the Middle Ages
Beatrice awaits her father and brothers return from war. The family fortune has dwindled but Beatrice looks after the castle and its surrounding farmlands the best she can. These early scenes have a beauty and magic to them and Julie Delpy's etheral beauty seems perfectly at home in this setting. Her world is charmed with wonder and she looks destined to live the romantic life of princess. It seems all that is missing is a father to restore the castle to its former glory. The longer he is gone the more Beatrice idealises this man she never knew. When word reaches her that he is on his way back she is ecstatic. Meanwhile we see what kind of man he is. From the first glimpse Tavernier gives us of him we know he is not what Beatrice imagines him to be. As they welcome the father and his band of soldiers into the castle and feed him someone asks to hear of his exploits...a silence fills the room. Reluctantly he begins to tell a tale quite different than the one the listeners expected to hear. We soon realize a more disillusioned man never walked the earth than this man. He paces the halls of the castle like an animal hungry for prey. Nothing is sacred to him, nothing safe from him. Religion nor family hold any sway over him, he takes what he wants & the biggest prize in the castle is Beatrice. This homecoming begins to feel like a state of seige. It is not long before the prize is forcibly claimed.

Beatrice pleads with the priest for protection but he will do nothing that might offend the Lord of the castle. In fact its Beatrice who is blamed for her fathers actions. Her only ally proves to be a female witch and witchcraft in this film seems to be the one activity available for women to feel powerful and it proves to be quite seductive to helpless Beatrice. Tavernier seems to be saying that once a man loses faith his capacity for destruction is limitless. The father defies every natural law and in so doing seems to beg for someone to destroy him once and for all. And finally someone does.

In other films Tavernier has dealt with family dysfunction in a profound way (The Clockmaker) but this goes well beyond mere dysfunction. There is something compelling about this recreation of the middle ages as it seems to capture the essence and contradictions of the time--and even offer a very modern way of explaining why such forces co-existed.

It's not all Prince Charmings and Happily Ever Afters
This movie disturbed me but was still unbelievably compelling to watch as the three main characters, the father, the son, and the daughter wage an internal war upon each other.

The father and son return after an humiliating experience at war only to find that the battle continues with each other at home. The son is constantly berated by the father for his shortcomings. The father forces the daughter to express the same emotions of compassion and love she shows to her brother to him. What ends up happening is a fierce battle of strength versus intelligence.

A disturbing, compelling, and haunting movie. Be warned, it's not for all tastes.

Offbeat, ritualistic medieval classic
I've watched this film many times, and it never fails to move me. It has the aura of ritual -- as when the father points to his heart and says "Here" before his daughter stabs him, a death he has surely earned. Is this what he has desired all along? Did she have to dress up in her disgraced brother's clothes before being capable of murder? Etc. This film is so un-PC, the viewer might be best off seeing it as an exploitation movie gone arty and strange. Best witch-burning sequence ever. Best dirt-eating. Best ancient castle with hand-held chase scenes. Magnificent acting. Won't bore you for a second, that's for sure. The real thing without any cinematic cliches. Compare to "The Devils" or "The Return of Martin Guerre."

Beatrice (French title: La Passion Beatrice)
This film is well acted and well directed; however, emotionally it is VERY difficult to watch. The father in the film is a full-blown psychopath. It's hard to say which is more horrifying: his emotional abuse of his son or the sexual abuse of his daughter. I'm not exactly sure what the point of this film was, unless it was to de-romanticize the Middle Ages; in this, it certainly succeeds. I do have to give director Tavernier credit for an honest treatment of child abuse in all its revolting reality. Watch it only if you have a strong stomach. ... Read more

Amazon.com

A frothy 1925 operetta, performed by a glittering cast that includes Sabine Azema and Audrey Tautou, might not sound precisely like the great director Alain Resnais's glass of champagne. But Not on the Lips (Pas sur la bouche) is in a line of Resnais films that uses false sets and stylized acting for its effect. This musical farce follows a wife (Azema) trying to keep her husband (Pierre Arditi) from learning that she was actually married once before--to an American who is about to become hubby's business partner. Awkward. Audrey Tautou, in a distinctly supporting role, navigates the trickery of flirtation as she tries to attract lounge lizard-y Jalil Lespert. Azema and Arditi are smooth as glass, but the standout here is Lambert Wilson (the French dude of the Matrix saga) as the tall, cigar-smoking American businessman, who disdains the un-hygenic dangers of kissing on the lips. Wilson's delivery of English phrases and his American-accented French is spot-on--you can hear the joke even if you don't speak French. The lightness of touch is maintained throughout, however gently the director of Last Year at Marienbad may be prodding at the undercurrents of Franco-American hostility (which probably seemed more loaded in 2004 than in 1925) and marital anxiety. --Robert Horton ... Read more

Reviews (3)

One of the Year's Best Films
Despite not getting a theatrical release Alain Resnais' ("Hiroshima mon amour") "Not On The Lips" is without doubt one of the best films I've seen this year. How sad that the movie will not be opened to larger audiences as this was one of the few films I've seen where I can say I had a lot of fun watching it.

"Not On The Lips" is a throwback to those wonderful comedies and musicals that were made back in the 1930's. Resnais says one of his main sources of inspiration were the Hal Roach comedies. Roach for those that don't know was a comedy producer who had such stars as Laurel & Hardy, Charlie Chase, and Zasu Pitts.

The film is really just eye candy. It is filmmed in bright lavish colors with characters wearing glamorous glowns and tuxedos. And everybody is singing about love. The only other recent movie I can think of to compare this movie to, in order to give you an idea of what to expect is a movie Woody Allen made a few years back called "Everyone Says I Love You". Both films carry a sentimentality of 30's cinema.

Gilberte Valandray (Sabine Azema) is married to Georges (Pierre Arditi) but has a lover, Charley (Jalil Lespert) now is just so happens that Huguette a friend secretly has a crush on Charley and wants to marry him. So the two women fight for his attention. Now Georges is a business man who is about to close a big deal for his company with an American, Eric Thomas (Lambert Wilson). But, what Georges doesn't know is that Gilberte was married before to Eric. Now Gilberte and her sister, Arlette (Isabelle Nanty) must try an convince Eric not to reveal Gilberte's secret. But Eric is still in love with Gilberte. And that's "Not On The Lips" is a nutshell. It's really a broad bedroom farce, though I don't know if that term is used anymore.

I found that I enjoyed most of the musical numbers which come from a 1920's comic opera written by Andre Barde. The last three songs I didn't like especially a song about a key hole.

Now that you know the plot I think it's fairly easy to decide if this is "your kind of movie". If you've enjoyed past films from Resnais, this should please you. If you've never heard of Alain Resnais but like old-fashioned musical-comedies, this just please you as well. I hope many people make an effort to see this gem of a movie.

Bottom-line: One of the best films I've seen this year. A throwback to the musical\comedies of the 1930's. Greatly inspired by the Hal Roach comedies.

A Delicious Bon Bon of Musical French Fluff
PAS SUR LA BOUCHE is a beautifully wrapped French confection that brings to the screen a performance of a French operetta by the same name.One may question why, in 2003, anyone would want to devote time and money to a story so light and Feydeau-farcical and, even more, why a director of the stature of Alain Resnais would be at the helm.Well, take a deep breath, swallow credibility, and sit back and enjoy this glittering little piece for what it is - entertainment.

As in musicals of the 1920s around the world (especially those in the USA!) the story is about love, misinformation, tricks, covering past affairs, and the usual nonsense of play within the play.The story is unimportant: the pleasure is all in the technique of the actors/singers who treat this light score with just the right amount of magic to make it work.Audrey Tautou, Sabine Azéma, Isabelle Nanty, Pierre Arditi, Jalil Lespert, Daniel Prévost, and Lambert Wilson give it their all.

Resnais' hand is evident in the stage movement, use of mirrors and disappearing exits.Even the titles and ending credits keep the candy going. For those who are not fluent in French, the subtitles will draw focus: the singing and dialogue are so rapid that there is little time for the eye to stray to the characters!In all, not a film for everyone, but if French farce is your cup of tea, it doesn't get more charming than this!Grady Harp, April 05

Delightful French Operetta, or Lightweight Musical Comedy
Perhaps you want to know something about the star of 'Amelie' first.But facts first.Based on the operetta first staged in 1925, 'Not on the Lips' ('Pas Sur La Bouche!') is a lightweight musical comedy, starring Sabine Azema, Isabella Nanty, Audrey Tautou, Pierre Arditi, Darry Cowl, Jalil Lespert, Daniel Prevost, and Lambert Wilson (the mysterious French character in 'Matrix Reloaded/Revolutions').

So this is a comedy with ensemble cast.Regardless of what you see on the DVD cover, Audrey Tautou's role is not big, but not small.That, however, does not change the fact that 'Not on the Lips' is a fun to watch for the fans of operetta, or kind of silly but delightful, old-fashioned farce with little songs and neat art deco.

The film, which does not hide its stage origin, is divided into three 'acts.'The story starts when George (Arditi) rather pompously tells of his theory about love -- he says, to any woman, the first love is always the best love.Little does he know that his wife Gilberte (Azema) was (fleetingly) married to an American, one Eric Thompson (Wilson), and to her great surprise, Eric is coming to her house as her unsuspecting husband's business partner.

Thus, as the rules of farce, the mistaken (and hidden) identities and door slamming complicate the situations.Things get more confusing (and funny) when starry-eyed Huguette (Tautou) falls in love with the hunky 'artist' Charley (Lespert), who in turn chases Gilberte .... and so on an on.Can't you follow the relations now?It's okay, anyway, you can when you see the film itself.

The film is full of playful songs (sung by the cast), and they are mostly enjoyable, though they might sound repetitous.The problems is not that; it is, probably non-French-speaking audience would not fully appreciate the joy that these songs and dialogus convey.(I must confess that I, being a Japanese, couldn't.)Plenty of puns like 'Cubism' and 'CooCoo-ism' could be heard, but many of them just flew over my head.

And as the film retains some of the now out-of-date values and manners (intentionally, I guess), you may be slightly embarrassed, hearing the phoney 'American' English -- hear Lambert Wilson's 'WHATDDYA SAY' -- or seeing a hunk who looks like Rudolph Valentino.

But the film succeeds in creating the joyful mood, and though the contents are slight, it is great to see the glitteringly gorgeous costumes that none of us would wear today.For someone like veteran director Alain Resnais ('Last Year at Marienbad' and many many others), it must be an easy job.(By the way, he was born in 1922.)

It's a fluff, to be sure, but in a way it's an admirable job, for, even among the recent revival of musicals, no one can and would make a film like this today -- these charming songs you might hear on old LP records, the fluffy clothes, and talk about 'resque' that is no longer 'risque' these days.You may like it, ot hate it.I happen to like it, and charming Audrey Tautou too,that's why 4 stars. ... Read more

Reviews (37)

A French Comedic Classic, Finally in the US!
Well, for quite awhile, this DVD was not available in the US, and even hard to find in its native France. It was a nice surprise to finally see it appear stateside, and hopefully, it's appearance will garner some more attention to French comedies. The story focuses around a nobleman who, along with his oafish servent, is transported forward in time to modern day France. In their new surroundings, they must deal with life in the modern world, as well as try to figure out how to return to their own time. Christian Clavier and Jean Reno do outstanding jobs as the misplaced main characters, and the movie moves at such a pace, that it offers plenty of laughs. Do yourself a favor and check this movie out if you're never seen it, you won't be disappointed.

Tres, tres, bien!!
I watched this video in Fench with Eglish sub titles in my french class.

It is a very funny movie about 1 midevil knight and his servant. They go forward in time on accident when they drink a potion that is supposed to make the knight able to change the corse of an aarow that kills his belovede's father. His love won't marry him then and all he ever wanted was to have a family and decendents.

Once they show up in the present day, everyone thinks the kningt is the long lost cousin of this one girl, who is really the knigt's decendant.

It is hallarious the way the midevil knight and servant react to modern things. They don't realize what time they are in.

This movie has a twist and a problem at the end, which I guess is fixed in the second movie. We are in the middle of watching it (it is Les Visiteurs 2 I think), but it's no as easy to understand for me because there are not English subtitles in the version we are watching.

The only reason this movie is rated R is because there is a lot of bad words. In France (where it is origionally from), i think it was only rated PG, but i'm not that sure, so don't take my word for it.

Have a fun time watching Les Visiteurs!!!!!!!

French Version Much Better
The original movie "Les Visiteurs" is so good, its a pity they had to spoil with the Americanized version - "Just Visiting" - which is at best an insult on the intelligence of the American viewing public.

Although the original movie is in French with English subtitles, they have done a tremendous job with the subtitles - translating a kind of "medieval" French into a comparable type of old English (modern swearwords included). In fact, the job is done so well that we had a lot of laughs just by comparing the film's verbal antics to the translation. Even though I do not speak French myself, it is quite clear that a lot of effort had gone into this. Sometimes the conversations are fast and furious, so it's worthwhile to see the movie a second time. Even on the second pass, there was a lot to laugh at.

The original was meant to be slapstick and the story is a total farce, but I thought it was well done, and very well executed. Even though this whole thing is intended as a joke, the reactions of the medieval guys are quite believable. Both versions star Jean Reno and Christian Clavier, but unfortunately that is not enough to save "Just Visiting", which I can at best award two stars. In contrast, the original effort is a blast and worth at least 4 stars.

If you can, try to obtain the French version. It's worth the trouble!

Clever, intelligent, sweet, not a movie for morons
We watched this movie in French class. I may have been prejudiced before the first frame ran, as I absolutely adore Jean Reno, but I LOVE this movie. The sight gags and innuendos are priceless, and I have to say this is the first "time travel" movie that I actually liked. If you do not like this movie, it's because you don't get it!!

The Most Pathetically Terrible Movie I Have EVER Seen
I am a terrible movie afficianado, and this one was the creme de la creme of terrible movies. The 'plot' centers on a count and his vassal from 1076 who are magically transported into 1996 by a senile sorcerer. As you can imagine, wackiness ensues. Unfortunately, nowhere in the entire movie does an actual story line emerge, and the characters are completely obnoxius. This is unfortunate, as there are some very skilled actors and actresses in the movie. If you like garbage, then watch this movie. Otherwise, save your money to buy something worth watching. ... Read more

Reviews (4)

Powerful Recreation of the Middle Ages
Beatrice awaits her father and brothers return from war. The family fortune has dwindled but Beatrice looks after the castle and its surrounding farmlands the best she can. These early scenes have a beauty and magic to them and Julie Delpy's etheral beauty seems perfectly at home in this setting. Her world is charmed with wonder and she looks destined to live the romantic life of princess. It seems all that is missing is a father to restore the castle to its former glory. The longer he is gone the more Beatrice idealises this man she never knew. When word reaches her that he is on his way back she is ecstatic. Meanwhile we see what kind of man he is. From the first glimpse Tavernier gives us of him we know he is not what Beatrice imagines him to be. As they welcome the father and his band of soldiers into the castle and feed him someone asks to hear of his exploits...a silence fills the room. Reluctantly he begins to tell a tale quite different than the one the listeners expected to hear. We soon realize a more disillusioned man never walked the earth than this man. He paces the halls of the castle like an animal hungry for prey. Nothing is sacred to him, nothing safe from him. Religion nor family hold any sway over him, he takes what he wants & the biggest prize in the castle is Beatrice. This homecoming begins to feel like a state of seige. It is not long before the prize is forcibly claimed.

Beatrice pleads with the priest for protection but he will do nothing that might offend the Lord of the castle. In fact its Beatrice who is blamed for her fathers actions. Her only ally proves to be a female witch and witchcraft in this film seems to be the one activity available for women to feel powerful and it proves to be quite seductive to helpless Beatrice. Tavernier seems to be saying that once a man loses faith his capacity for destruction is limitless. The father defies every natural law and in so doing seems to beg for someone to destroy him once and for all. And finally someone does.

In other films Tavernier has dealt with family dysfunction in a profound way (The Clockmaker) but this goes well beyond mere dysfunction. There is something compelling about this recreation of the middle ages as it seems to capture the essence and contradictions of the time--and even offer a very modern way of explaining why such forces co-existed.

It's not all Prince Charmings and Happily Ever Afters
This movie disturbed me but was still unbelievably compelling to watch as the three main characters, the father, the son, and the daughter wage an internal war upon each other.

The father and son return after an humiliating experience at war only to find that the battle continues with each other at home. The son is constantly berated by the father for his shortcomings. The father forces the daughter to express the same emotions of compassion and love she shows to her brother to him. What ends up happening is a fierce battle of strength versus intelligence.

A disturbing, compelling, and haunting movie. Be warned, it's not for all tastes.

Offbeat, ritualistic medieval classic
I've watched this film many times, and it never fails to move me. It has the aura of ritual -- as when the father points to his heart and says "Here" before his daughter stabs him, a death he has surely earned. Is this what he has desired all along? Did she have to dress up in her disgraced brother's clothes before being capable of murder? Etc. This film is so un-PC, the viewer might be best off seeing it as an exploitation movie gone arty and strange. Best witch-burning sequence ever. Best dirt-eating. Best ancient castle with hand-held chase scenes. Magnificent acting. Won't bore you for a second, that's for sure. The real thing without any cinematic cliches. Compare to "The Devils" or "The Return of Martin Guerre."

Beatrice (French title: La Passion Beatrice)
This film is well acted and well directed; however, emotionally it is VERY difficult to watch. The father in the film is a full-blown psychopath. It's hard to say which is more horrifying: his emotional abuse of his son or the sexual abuse of his daughter. I'm not exactly sure what the point of this film was, unless it was to de-romanticize the Middle Ages; in this, it certainly succeeds. I do have to give director Tavernier credit for an honest treatment of child abuse in all its revolting reality. Watch it only if you have a strong stomach. ... Read more