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  • Darsteller: Isabelle Huppert, Hanna Schygulla, Michel Piccoli, Jerzy Radziwilowicz, Jean-François Stévenin
  • Künstler: Jean Bauer, Alain Sarde, Raoul Coutard, Jean-Luc Godard, Christian Gasc, Serge Marzolff, Rosalie Varda, Armand Barbault, Catherine Lapoujade, Martine Marignac
  • Format: Dolby, PAL
  • Sprache: Italienisch (Dolby Digital 2.0 Mono), Deutsch (Dolby Digital 2.0 Mono), Französisch (Dolby Digital 2.0 Mono)
  • Untertitel: Deutsch, Englisch, Dänisch, Finnisch, Niederländisch, Italienisch, Norwegisch, Portugiesisch, Schwedisch, Spanisch
  • Region: Region 2
  • Bildseitenformat: 4:3 - 1.33:1
  • Anzahl Disks: 1
  • FSK: Freigegeben ab 16 Jahren
  • Erscheinungstermin: 5. August 2010
  • Produktionsjahr: 1982
  • Spieldauer: 88 Minuten
  • Durchschnittliche Kundenbewertung: 3.7 von 5 Sternen 3 Kundenrezensionen
  • ASIN: B003M22AZ6
  • Amazon Bestseller-Rang: Nr. 111.672 in DVD & Blu-ray (Siehe Top 100 in DVD & Blu-ray)
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Der polnische Regisseur Jerzy arbeitet an einem Film über Werke großer Maler des 19. Jahrhunderts, darunter Rembrandts „Nachtwache“. Während der problematischen und stockenden Dreharbeiten wird er zunehmend mit Ereignissen und Schicksalen um ihn herum konfrontiert. Dabei wird Jerzy auch auf die Fabrikarbeiterin Isabelle aufmerksam, die entlassen wird und ihr Recht auf Arbeit vehement einfordert.


Während in seiner Heimat die Gewerkschaft Solidarnosc die Konfrontation mit der Regierung sucht, dreht der polnische Regisseur Jerzy im Ausland einen Film, der aus der Nachstellung klassischer Gemälde durch seine Darsteller besteht. Es plagen ihn Zweifel hinsichtlich der Qualität, sein Produzent klagt über ausufernde Kosten. Außerdem fühlt sich Jerzy von zwei Frauen angezogen: der Hotelbesitzerin Hannah und der Fabrikarbeiterin Isabelle, die gerade entlassen wurde.

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Format: DVD Verifizierter Kauf
Ja Isabelle Huppert hat eine Art sich in eine Rolle reinzuverstzen, die meiner Ansicht nach keiner Schauspielerin besser gelungen
ist und dieser Film zeigt wie gut sie dies verstanden hat und mit welchem Einfühlungsvermögen sie in dieser Rolle aufgeht.
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Format: DVD Verifizierter Kauf
ist dieser über 30 Jahre alte Film von Jean-Luc Godard, einzig die technische Qualität und die Kameraführung von Raoul Coutard überzeugt.
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Von Michael am 26. Februar 2014
Format: DVD Verifizierter Kauf
Ein Mega super Film. Der darf auf keiner gut sortierten DVD Sammlungfehlen. Ein Mega super Kracher.. Wirklich spitzen mässig. Klasse
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)

Amazon.com: 2.7 von 5 Sternen 7 Rezensionen
0 von 1 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Rule-breaking cinema from a master filmmaker 20. April 2013
Von Stephen Zigmund - Veröffentlicht auf Amazon.com
Verifizierter Kauf
Godard's Passion is not an easy film to watch if you are looking for a "story". He gleefully breaks the rules of filmmaking, opening up many our of preconceived expectations about cinema to critique and reflection. This is not always pleasurable, but I would argue it is, like the title suggests ("passion", in a religious sense, can mean suffering), a purifying experience that allows viewers to come out with a greater knowledge of the ways culture (cinema, music, and painting, etc.) shapes us and our beliefs about what cinema "should" or "should not" do.
7 von 9 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Passion 14. Juli 2001
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format: Videokassette
This film was made well into the (seemingly) third phase of Godard's career, with his more linear narratives occupying the 1960's and his overtly political films (including his work as a member of Dziga Vertov) comprising much of the 1970's. Less didactically Marxist in tone (perhaps due to disillusionment), the third "postmodern" period consists, roughly, of the 1980's through the present. Although "postmodern" is an agreeably irritating modifier for this period, since the term is thrown around with more randomness in current social theory than is deserved, it is appropriate for this period--and its appropriateness explains why it has been received with such animosity, as evidenced in other reviews in this page. In other words, if you are expecting the tone and the linear constructions of, say, Breathless or A Woman Is a Woman, you are likely to be (angrily) disappointed.
Admittedly, all of Godard's films could easily be considered postmodern (or at least, high-modern), but the last period, in which Passion may be situated, best exemplifies this "tendency." The "plot" (if it may be called one) is threadbare and beside the point. The construction is disjointed. The tone is ironic and self-aware. The themes are, largely, theoretical and often focus on the nature of art itself (and film, in particular). In short, the film is an affront to all modernist expectations in film. That is, a person who would ask half way through the film, "What is going on?" is looking for elements of film that Passion does not have to offer.
It is easy to cast aside a work like this, condemning it to "pretentiousness" or self-indulgence, but it is important to remember that it is film (and television, of course) that has been the only "prominent" art form to evade change: Today's commercial successes and even critical favorites follow pretty much the same formulas as films in the 1930's. There have been minimal efforts, by and large, to stretch this medium beyond these limits. Godard is one director who has consistently attempted to challenge the traditional narrative form and to explore less familiar territory.
On to the film Passion itself... The rough outline consists of a director (Godard-like) attempting to make a decidedly uncommercial films featuring "re-enactments" of famous paintings. As might be expected, the financial backers are none too thrilled about a sluggish, aimless production by a neurotic director. Meanwhile, a factory-worker (Isabelle Huppert), with whom the director is having a relationship, attempts, unsuccessfully, to organize a revolt among her co-workers, and a desperate, self-effacing hotel owner (Hanna Schygulla) similarly forms an attachment to the director--perhaps as an only means of escape from her otherwise dreary existence. (It is interested to note that Schygulla also appeared in Fassbinder's Beware of a Holy Whore, a film also about a creatively-impotent director working under disastrous conditions, but beware of Beware of a Holy Whore: it is a shrill and thoroughly bad film that seems a little too derivative of Godard's later style to be taken seriously.)
All in all, Passion is a successful film. It insightful (and ironically) connects disparate themes (e.g., the factory worker's fight for her very livelihood, and the director's struggle to bring about his "vision"). Despite the comic elements of the film, the overall impression one takes from it is a sort of empathetic frustration at passions left diverted or unfulfilled.
2 von 3 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen Zero Stars For Dull 10. Dezember 2013
Von Bartok Kinski - Veröffentlicht auf Amazon.com
Format: Videokassette
Do not listen to the film buffs who call this "art" and a series of vignettes that defy any meaning, its worthless and boring. The whole film has no interest to offer, what it tends to portray is stuffy French poseurs who smoke and talk about nothing in particular, that isn't very entertaining. I was dragged to the ending finally and was exhausted by the absolute uselessness of this picture and of Godard himself who isn't a very capable film director.
2 von 12 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Must art forbid character development entirely? Really?? 13. September 2000
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format: Videokassette
I understand that cinematic luminaries contributed to this film, and that art-house power is claimed for it. Yet no reasonable excuse is provided for the discontinuity among events. It may mimic the filmmaking process in which a producer/director's attention will be diverted many times per day, but it is still preferable to reveal a more cogent story. It is preferable because otherwise it is simply too easy to allege a movie.
The people behave stiffly throughout. The characters are caricatures. The issues raised are flat and uninteresting, and are as undeveloped as the characters.
The dubbing is quite bad. There are long stretches during which there is absolutely no connection between lip movement and sound.
I am not opposed to art in film. It is possible to incorporate disjunction into a film and create art that lacks a clear story. My point is that this movie basically fails. Three stars for the attempt, and because I admire the character who dances. She is about the only one who received a moment in which to behave authentically.
3 von 15 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Prententious and Overbearing! 1. Januar 2001
Von Alex Udvary - Veröffentlicht auf Amazon.com
Format: Videokassette
The more films I see by Godard, the more he shocks me, in a bad way! What this movie basically is, is, a excuse to see beautiful women naked for no apparent reason! Godard tries to shove this off as "art" but all the while we know what we're watching. A pretentious, boring, unsatisfying, porno! Godard tried pulling this stuff off before in "Two or Three Things I Know About Her". He created absurb questions such as "Why is blue called green?", and tried to make it some profound, earth shattering question. And the worst part of it is, people are suckered in to really thinking this stuff is "heavy". That it's so profound in it's meaning. When it's nothing more than junk! This movie is about a director (I assume someone pretty close to the real life Godard) who wants to make a movie with no story, in the style of paintings by Goya and such. He keeps on stating for the next 90 minutes that you can't write stories unless you live them. Or at least it's something of that nature. He then takes on two affairs, I'm not quite sure why, it's not really explained. When he's on the movie set, he does nothing but complain about something, claiming the lighting is wrong, or, why won't people leave him alone and let him make a movie about nothing ( Didn't we have a tv show like that lol). But in the background, I think they're filming some sort of Roman movie. We see men in Roman style costumes walking along side naked women, and horses. This movie is "more put together" than other Godard films. He didn't film this in his famous "disjointed" style. But even though it's shot "normally", the movie has no being. It wants us to believe we're watchng "art", but no one is that stupid to believe that. I know right now I must seem like I absolutely hate Godard, but that's not true. I do, believe it or not, have respect as a filmmaker, I'm a wannabe one, so in a sense I do look up to him. But, I know a bad movie when I see one. If you really want to watch Godard's films I suggest watching "Breathless" and\or "My Life To Live". Two movies that show Godard to be in fine form. But whatever you do, stay away from this one!
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