Danton (1983)

The top-shelf movie is made up of scenes between the two principals. The Polish lead is as good a performance as I've seen in a long time. Dippy-do was speaking French so he didn't drive me nuts like he does when he's in English-speaking movies. The lower-shelf bowl of hambone soup is when everyone else has aline of dialogue, spoken earnestly, often in wild-eyed shouts. Plays like a high-school drama club performance of That Wacky Wacky French Revolution. Lots of thought-provoking things here, and it looks great, but too many sub-par actors to pull it off.

The bloody aftermath of the French Revolution is brought to vivid life in the confrontation between its two architects, Maximillian Robespierre and Georges Danton, progressive thinkers in a primitive age who became bitter adversaries when Robespierre elevated the good of the State over the good of the people. Rarely have such provocative ideas been expressed with such bold, physical vitality; director Andrzej Wajda captures the anarchy of the period with powerful immediacy, showing how absolute power corrupts even the most honorable intentions. Gerard Depardieu's angry, overt performance in the title role is worth singling out; the film might well have been named after the doomed statesman Robespierre, who holds center stage throughout, but his icy intellect is no match, at least theatrically, for Danton's oratory passion (and besides, Depardieu is a star). Neither character survives the conflict, and when Danton is finally executed the bloody guillotine becomes symbolic not only of the Reign of Terror, but of the Revolution's most noble ideas severed at their source.

'They are a very intelligent people, the French'. So says author Boris Pasternak, in his novel, Dr. Zhivago. After watching this movie called " Danton " one would tend to agree. A study in French History will illustrate how closely this film comes to duplicating it. The story is taken from the first five years after the nightmarish 1589 revolution in France which consumed the lives of thousands of Aristocrates and their supporters. Danton (Gérard Depardieu) has returned from his countryside estate to meet with his old friend Robespierre (Wojciech Pszoniak). It seems word has reached Danton that the Committee system, or more precisely, the Safety committee, in Paris has become lethal to the very people it's suppose to protect. Despite, their long friendship, differences of political opinion soon make it apparent the deadly revolution with its connection to the Guliotine, will soon destroy their goals, promises and even their lives. The dramatic acting in the movie between the principal actors and their ardent followers, is superb. Indeed, the devious plots, counter plots and murderous intentions of all involved is designed to unearth history from deep within it's bloodiest pages.****

Incredibly detailed account of post-Revolution France. Gerard Depardieu is Georges Danton, an aristocrat whose actions and plots led to the king being dethroned. Robespierre led the government afterward with his infamous Reign of Terror. He distrusts Danton, whose lifestyle and ideas are contrary to his own, but he's afraid that if he executes the man, he will enrage the people of France, whom he believes he's serving. The film is mostly dialogue, but it's incredibly gripping. I've never felt one way or another about Gerard Depardieu - I can confidently say he's never ruined a film for me, but I can't remember particularly loving him in anything either. But, holy freaking cow, he is brilliant here. It's just an energetic, powerful performance. Wojciech Pszoniak is also great as Robespierre. He and his cronies are all played by Polish actors dubbed into French (which was noticeable even though I don't speak French). In fact, the entire cast is exquisite. Director Patrice Chereau and German actress Angela Winkler also have nice, big roles. I've never liked anything else I've seen from Wajda, but this is a near masterpiece. He evokes the period beautifully without being too obvious about it. To him, it's not about the costumes or sets, but the people inhabiting them.