Cebalord Very best movie i ever watch

ThiefHott Too much of everything

Pacionsbo Absolutely Fantastic

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Michael Beeman Every once in a while — too rarely — a film unexpectedly hits you like the burst-in-your-mouth of a fresh, flavorsome tomato. You're left sitting with a grin, thinking simply, "Wow. I really enjoyed that." For me, Patrice Leconte's The Girl on the Bridge (La Fille sur la Pont) was one of those films.The film opens with 21-year old Adele (Vanessa Paradis) explaining to a roomful of psychology students why she is suicidal: All her life she has been luckless, especially so with men. She cannot resist men (she feels compelled to try them on, Adele says, like other girls her age try on pretty clothes). Yet men treat her abominably.Cut to a bridge over the Seine. Night. Adele stands on the edge staring down into the water, trying to screw up the courage to jump, the sounds of samba music coming from a passing tourist boat. A man's voice from the dark: "You look like a girl who's about to make a mistake." One of the great pickup lines in film.The voice belongs to Gabor (Daniel Auteuil), a knife thrower in search of a target. He recruits on bridges, he tells Adele, because the women he meets there have little to lose — so if he hits them, it's no big loss. Adele promptly jumps into the river.Fortunately, Adele survives, and she and Gabor perform his knife-throwing act to great acclaim across Europe. In a reversal of fortune for them both, they find that together they have astonishing luck in every facet of their lives. But Adele soon ends it, for with her newfound luck, she has met her Mr. Right, and she leaves Gabor behind.But Gabor and Adele are, as Adele remarks, like the two halves of a torn 50-franc note: Apart, their luck is all bad. Working on a cruise ship, Gabor puts a knife into the thigh of Adele's replacement; he is immediately offloaded in Istanbul, with no means of returning to Paris. Adele is abandoned by her Mr. Right in Athens; she is left lost and destitute.But just as Gabor has lost all hope and is about to jump off an Istanbul bridge, he hears a woman's voice: "You look like a man who's about to make a mistake."The film charms throughout, not least because of the charisma of Paradis and Auteuil. Paradis, in particular, is mesmerizing as Adele, a naive waif with a striking, confident beauty buried inside, waiting to emerge. But Leconte balances the film's charm with a certain gravitas, as throughout Gabor and Adele balance on the edges between life and death; fear and ecstasy; happiness and despair; sexual penetration and emotional laceration. The result is, simply, a pleasure to behold.

tedg The main character here is played by a young woman who we discover in an extraordinary opening sequence, an interview placed outside of the film proper, where we learn her character and her way of carrying it. This scene is memorable, because of the firmness with which she clings to damage and vulnerability. It is long and intimate, and placed in an audience of which we are a part.The actress playing this girl is perfect. She really is a plain woman, with bad teeth, a sagging chin and misplaced forehead. But when she decides to turn it on, the sun opens up and you receive the sort of beauty film is made for. This actress in fact is a top model; that is her talent, her job and presumably her life.The story surrounds this as a folded wrapper. She finds a man who sees her as his partner, but not as she is used to. He wants to make love of course; we all yearn for this with someone who is a soulmate. They are soulmates, to the extent that they can speak to each other across cities. His love is dangerous and penetrating. It carries the extremes he is capable of and she is of supporting. (The metaphor is knife throwing, but that is as much an abstraction as the water and bridges images — all of which are brilliantly conveyed using pure cinema.)A scene has her begging for him at a train platform, "now, anywhere" and they retire to a shed where he throws at her in the most erotic scene I have seen in years. She is more than radiant, he more than master.The switch here is the switch between good and bad luck, which he introduces. While we are the audience of the two, he is the audience of her; we both throw, we both risk, and we both are rewarded.Ted's Evaluation -- 3 of 3: Worth watching.

Sebastian Fragopoulos Two tragic characters: A beautiful girl, on the edge of a bridge contemplating suicide, and a broken man, on the same bridge for the same reason. The man is a believer. He believes in fortune. He's been around, and he's seen many things. He can tell when the wheels of fortune are turning, and in the face of the young girl he sees salvation for them both. He senses a feeling stronger than fate or Kismet or whatever you want to call it. A conviction that two people can be made for each other, that two people can connect in a way imperceivable and unobtainable for most of the world, a connection so deep and so strong, that it can make them invincible. In most movies of this kind, you expect the characters to discover how right they are for each other along the way. In this movie they know it the instant they meet, but they're too proud and too overwhelmed to accept the fact that it could be so easy.Patrice Leconte takes us on a wonderful journey around Europe, and fills each black and white frame with such colorful feelings that it's next to impossible not to be taken in by the mere suggestion that there can be a perfect match for each person, and that together they can take on the world.La fille sur le pond, is a movie about fortune, destiny, love, danger, lust, luck, romance but above all, I think that it's about connection. Connection on a level so high that it becomes divine. This movie is unique and in it I find refuge whenever I feel alone or lonely.

abidur rahman Like many other french movies, this movie is about the beauty of film making, it's about the art that does not necessarily depend on a story. There is a great amount of fantasy in this movie, like most good things in life. One thing that I really liked about the movie was the fact that you can take almost any frame and it could be part of a photography exhibition. Some people may complain about the story, which may be bland by itself; others may complain about the fairytale-type romance in the movie, which may seem too sentimental. But it is the excess of emotions that gives it the flavor of a fairytale. I'd never watch a movie to learn something, because good movies like good poetry is beauty itself, and we don't analyze that.