Woman in Gold
Réalisation:
Simon CurtisScénario:
Alexi Kaye CampbellPhotographie:
Ross EmeryActeurs·trices:
Helen Mirren, Ryan Reynolds, Daniel Brühl, Katie Holmes, Tatiana Maslany, Max Irons, Charles Dance, Antje Traue, Elizabeth McGovern, Jonathan Pryce (plus)Résumés(1)
Lorsqu'il fait la connaissance de Maria Altmann, un jeune avocat de Los Angeles est loin de se douter de ce qui l'attend... Cette septuagénaire excentrique lui confie une mission des plus sidérantes : l'aider à récupérer l'un des plus célèbres tableaux de Gustav Klimt, exposé dans le plus grand musée d'Autriche, dont elle assure que celui-ci appartenait à sa famille ! D'abord sceptique, le jeune avocat se laisse convaincre par cette attachante vieille dame tandis que celle-ci lui raconte sa jeunesse tourmentée, l'invasion nazi, la spoliation des tableaux de sa famille, jusqu'à sa fuite aux Etats-Unis. Mais l'Autriche n'entend évidemment pas rendre la « Joconde autrichienne » à sa propriétaire légitime... Faute de recours, ils décident d'intenter un procès au gouvernement autrichien pour faire valoir leur droit et prendre une revanche sur l'Histoire. (SND)
(plus)Critiques (4)
The environment offers an interesting story premise by default. Jewish stories from the eras of both world wars are never anything to be sniffed at and they’re usually full of emotions. But not when it comes to Woman in Gold where there are two timelines; one from the past and one from the present. The past one is fairly well-done and I don’t have anything against it, but the one from the present is awfully dull and the court trial really put the cherry on top. So, I’ve got nothing left to do than be thankful for the solid acting performances. But that’s the only thing worth noticing about this movie.
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An important film, ideally suited to the collage of celebrations of the 100th anniversary of Klimt's (and Schiele's) death. Sometimes it is simply important to make a formally (un)ordinary project to repeat an appeal that is still valid and that would not bear experimental parables. The Anschluss in art has taken many forms and I hope it will take many more. In addition to the film, I can also recommend Anne-Marie O'Connor's novel of the same name, subtitled "The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer."
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Too bad it's such a standard and unsurprising film (even for those who don't know anything about the real story), because the subject matter and cast are more than enticing and easy to watch. Also, I'm not sure if the filmmakers wanted the viewer to think about whether or not it was even right for the paintings to leave Austria.
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This movie has weak points and there are scenes that are unnecessarily intense and are only given for effect, but that didn't bother me. I enjoyed the film, among other things, because the whole story is incredibly interesting, both from the perspective of the court and from the perspective of escaping from Austria before the Nazis. I have no complaints about the acting performances. I constantly believe in Ryan and he repays my faith here.
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