Stavisky, il grande truffatore
Director:
Alain ResnaisGuión:
Jorge SemprúnCámara:
Sacha ViernyMúsica:
Stephen SondheimReparto:
Jean-Paul Belmondo, François Périer, Anny Duperey, Michael Lonsdale, Roberto Bisacco, Claude Rich, Charles Boyer, Marcel Cuvelier, Pierre Vernier (más)Streaming (1)
Sinopsis(1)
El 8 de enero de 1934, en su chalet de Chamonix, aparece el cuerpo sin vida de Serge Alexandre Stavisky. La policía comunica que se trata de un suicidio. La prensa ironiza sobre el ‘doble’ suicidio –ya que son dos las balas alojadas en su cabeza–, y las dimensiones de los brazos del suicida, puesto que los disparos se han efectuado a tres metros de distancia. El asunto salpica a financieros, jueces, políticos e, incluso, al primer ministro. En los meses anteriores, Stavisky ha recibido consejos de sus influyentes amistades, quienes consideran que es mejor para él desaparecer durante un tiempo y esperar a que pase y se olvide el mal momento. Stavisky hace tiempo que ha dejado atrás su pasado de estafador de poca monta y no puede renunciar a su afán de notoriedad, su deseo de explotar al máximo la influencia que cree poseer sobre el poder político y al lujoso y extravagante ritmo de vida que comparte con su adorada esposa Arlette. (Divisa Home Video)
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Reseñas (1)
Movies with Jean-Paul Belmondo sometimes suffer from the fact that audiences have become accustomed to seeing Belmondo in one single box, and anything that deviates from that receives criticism and misunderstanding. Unfortunately, I must point out here that the criticism is fully justified because Resnais did a poor job with it, resulting in a boring and lifeless film, where the main character lacks the charisma of the real Stavisky, despite Belmondo's efforts to imprint his usual charm. Resnais tries to portray his hero as someone who has believed too much in his own lies and plays his role regardless of the risks and the approaching end. The film lacks many things, including a more prominent female character or Belmondo's counterpart. Here, Resnais' hero is depicted as a victim of the system, and although there is some truth to it, I have seen many films where a similar theme is portrayed in a much more convincing manner. Overall impression: 40%.
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