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Rating:  -
When I first heard about silk I was not that keen about seeing it but for my Birthday my grandmother had no idea I was not so keen and bought it as a gift. I am so glad that I did not return it! Silk is a visual masterpiece about a mayors son named Herve who falls in love with a beautiful young women named helene. Every thing seems like It's going to be picture perfect about that time a man named Baldabiou has ideas of opening the run-down silk mill the only problem is there is a disease killing all the silk eggs in france and without the eggs there can be no silk mill. Baldabiou approaches Herve and tells him about going to Africa to retrive the eggs Herve accepts. Helene does not want Herve to leave there are recently married but she does not want to be a burden. After succesfully retriving the eggs Herve must go on another journey to japan. Some of the eggs are dead and Baldabiou sees that as a very bad sign. Leaving his wife again he sets out on a tough journey and falls in love with the mistress of a powerful japanese baron. Herve ends up going again and becoming more obsessed with her and at one point after finding a note saying "come back or I shall die". while Helene is at home lonely and waiting for Herve ( How sad!)
Pros: Silk is very beautiful visualy! great cineamatography. Lovely Costumes. And a beautiful score that should have won an oscar. Another Great thing about the film was Keira Knightley as Helene. She was so beautiful in her costumes and her performance was very touching and very subtle yet heart breaking!
Cons: Michael Pitt is not as good Keira Knightley and pouts and tries to act cute. Other then that.....................................
Rating: 8.5/10 Silk is a love story about a man who forget the love of his life was always been near and not far. It's beautiful to watch but Michael pitt almost makes it less than great But Keira Knightley makes up for that she was awesome!
Rating:  -
This was a beautiful movie. The sets were fantastic, the scenery was moving. It was, in fact, the only movement whatsoever in the entire production.
This movie was painful. Really, really painful. Nothing of any consequence happened... or seemed to. The story was all in the background, a context through which the characters altogether failed to move. Keira Knightly is breathtaking, but she and Alfred Molina portray the only two characters who seem to have any life to them whatsoever. She was really only in a few scenes, nowhere near enough to redeem this production. The main character was sodden, gloomy, and altogether uninteresting. The best single word to describe him would be "pathetic" if only there were some pathos, some connection between him and the viewer. Sadly, that connection so spectacularly fails to develop that, when I found that I had missed a line of muttered or mumbled dialog (the majority of the plot is conveyed via a sort of moaning, whispered narrative voice over) I found that I really did not care.
Save yourself, you'll never be able to get the two hours of your life back if you waste them watching this movie.
Rating: -
First, I have to say how wonderful the book is. As with most cinematographic adaptations, this one fails to bring the story to life on screen.
The actor's performance, and by that I mean Pitt's, is terrible. When you read the book, he certainly does not come to mind. His voice is not appropriate, nor is his age, for the role presented in the book.
That said, I realize that not everyone envisions books the same way, and that is a good thing (most of the time). However, in my eyes, the movie does not do justice to the writing style of Alessandro Baricco, author of the book "Silk".
The cinematography of the movie is beautiful, although at times one has to wonder why there is so much light in the Japanese houses. That seems overdone.
I found the movie much too slow, pointless and ... lifeless.
I had much higher expectations for it.
A disappointment.
Rating:  -
This slow-moving, romantic tale may not contain a lot of conflict (read dramantic interest) but it sumptuously explores two worlds, France and Japan of the nineteenth century. For those who enjoy languid, atmospheric films on occasion or maybe a well-made, life-as-lived historical piece, then SILK is for you. SILK is certainly a change of pace from the many movies loaded with violence and dripping with message. Beware: This viewer found the ending required multiple kleenex tissues.
Rating:  -
Based on the prose-poem novel by Alessandro Baricco, director Francois Girard's `Silk' excruciates its audience by trying way too hard to be a beautiful genre film complete with spectacularly photographed vistas of France and Japan, profoundly symphonic music and the kind of pretty crinoline-d costumes in which most bodice-ripping aficionados would want to be corseted. However attractive, `Silk' wears thin right from the get-go.
Michael Pitt, severely miscast as Herve Joncour (why not James McAvoy?), plays this 19th century purveyor of silk eggs--a supposed intrepid adventurer traveling from Lyon to Africa and Japan--with a spectrum of emotions limited to a flat line expression of distracted cherub-faced banality. Does anything faze this person? Is his cravat tied too tightly? Not really--Pitt spends most of the movie in kimono, so he's definitely comfortable. Nevertheless, when Herve experiences sensual exquisiteness--be it women (two lusciously yet polarly different beauties--the fair Helene (Keira Knightly) and the nameless dark and sultry Japanese concubine (Sei Ashina) or nature--- he flitters through a pastel flower-strewn rendition of Monet's France (Girard's scene at the beach captures in essence the painting "La Promenade, la Femme a l'Ombrelle") and meanders through a misty art house imagining of rural Japan that suggests the fragile Haiku tension of "Snow Falling on Cedars", he pouts with the one-note prissiness that stamps him as a graduate in fine standing from the quintessential "you'll-never-understand-me" school of teen television drama, "Dawson's Creek. With blue-green eyes that are quick to water - his only visual sign of emotion, other than a slackness of his full lips--he stumbles through 20 years of his life on a confused quest for his idea of perfection. Ironically, Helene, his wife, waits at home for the garden and child she has promised herself while he pants over his conceptualization of a woman with whom he has never spoken with the persistence and deadened optimism of a voyeur clicking through mega-sites of Internet porn.
So what's it all about and is it worth two hours of the viewer's time? No. Even for die-hard Knightly fans, `Silk' offers scant opportunity for this actress to really hone her craft and shine in any way other than that of a lovely accoutrement to an already lovely backdrop. She spends most of her screen time in a languorous pre-`Atonement' wait state-- I have come to think of this film as an exercise to her more intense character of Cecelia opposite James McAvoy in `Atonement.' There, too, her angular body is positioned in an ultimate welcoming or goodbye posture. Here, she is less bitter, her jaw still clenched while her arms remain outstretched ready to grab her errant husband to her bosom each and every time he returns from his trek for eggs. Sadly, unfulfilled in her inability to conceive a child or understand her husband's restlessness--of this I conjecture, as the plot of the film reveals little of the underpinnings of her mind--she conveys an overall feeling of the unessential role women, in general, portrayed in life then and perhaps, even in life today.
And just how are women depicted? If we enjoy a football game, we are inundated with glimpses of cheerleader's legs, breasts and swatches of long hair swaying. If we like cars or cameras, well, there is always a model or two glad to sell you the latest technological advancement while allowing a glimpse or two of their corporeal delicatessens. It comes as no surprise that there are certain women who sell their sexuality to make their way in a world that has been designed by men. Are we to believe that that is the only alternative? In `Silk,' a film intended to be appealingly romantic to women, we again are reminded that women hold a secondary role--the concubine does not speak, yet Herve is entranced--by what? Her subservience? Helene is fetching indeed, but as Herve doesn't seem to care, why should we? All those poetic musings in the Baricco novel come off as the usual stereotypical drivel that reduces women to commodities rather than flesh and blood individuals with needs of their own. Shame on you, M. Girard. I might as well watch the Speed Channel.
Bottom line? Don't waste your time or your money on this one. The plot is boring. The actors wallow in self-pity. Yes, the photography waxes aesthetic but you would do better with a picture book of exotic locales. The music accentuates the maudlin nauseating character study of the insipid Herve, but I'd rather listen to something truly impassioned like Rachmaninoff. Personally, I am tired of the mentality of depicting pretty women being flaunted as tidbits to make men's lives more comfortable, be it a Playboy spread or a tea ceremony. Enough already. I can deal with a little manipulation. Just show me some strength.
I awarded this movie two stars, both of which go to Alfred Molina as Herve's boisterous boss man. He is the only player that livened up the so-called action in this snore fest. Not recommended.
Diana Faillace Von Behren
"reneofc"
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