© Zephyr Films
Kinospielfilm | 2015-2016 | Coming of Age, Drama, Mystery | Vereinigtes Königreich
Hauptdaten
| Regie | Charles Garrad |
|---|---|
| Drehbuch | Charles Garrad, Hugh Stoddart |
| Produktion | Zephyr Films [uk] |
Projektdaten
| Lauflänge | 92 Min. |
|---|
Kurzinhalt
It’s 2002. Paul is in his late 20’s; a failed student in a dull job. On the eve of the invasion of Iraq his father Len, a man with a cloudy military past, delirious and dying in hospital, throws out a tantalising hint that there’s something of great value owed to him by a colleague from his army days in Aden in the early 60’s.
After the funeral, when she’s clearing up the house, Paul’s mother gives him some old records of Len’s. An ancient postcard of a village in France and a blurry snapshot of a couple in front of a big old house fall from the cover of one of them. On the back someone has scrawled “Come here again, and I’ll kill you.”
Len has left the family with nothing but debts so, angry and grieving, Paul sets out, unsure what he’s looking for and apprehensive as to what he might find.
He drives through France in his beat-up car searching for the place on the postcard. He ducks and dives but hits a blank wall. He’s just about ready to give up when he stops at a café and strikes up a conversation with Sylvie, the lively daughter of the owner, who sends him to ‘Madame Brown’s’. It’s the place he’s been searching for... large, shabby and forbidding.
And so Paul meets the imperious and beautiful Madeleine, in her late fifties, daughter of Colonel Brown, deceased. A musician, living alone, she now earns what she can as a piano teacher.
Paul uses a false name and pretends he wants to study the house’s architecture. He talks his way in helped by Ahmed, the Algerian retainer, who is doing his best to keep the house from falling down. He takes to Paul in a fatherly sort of way, and persuades Madeleine to let him stay in the house.
Madeleine is intrigued by this good looking young man, yet soon suspicious too, and she’s got an automatic pistol by her bed.
A complex dance ensues between Madeleine and Paul, (with Ahmed wryly in attendance) in this house and garden full of mysteries. He searches and hides from her. She tries to trick and unmask him. First one seems the stronger then the other, and both have dangerous secrets to reveal… When all the painful truths have been pulled into the light, comes Madeleine’s final astonishing revelation...
And through it all, Sylvie’s been falling for Paul. She’s like a second in Paul’s corner of the ring; finally he’s out of the fight, a little bruised, but bearing the prize. And there she is.
(Quelle: Charles Garrad)
After the funeral, when she’s clearing up the house, Paul’s mother gives him some old records of Len’s. An ancient postcard of a village in France and a blurry snapshot of a couple in front of a big old house fall from the cover of one of them. On the back someone has scrawled “Come here again, and I’ll kill you.”
Len has left the family with nothing but debts so, angry and grieving, Paul sets out, unsure what he’s looking for and apprehensive as to what he might find.
He drives through France in his beat-up car searching for the place on the postcard. He ducks and dives but hits a blank wall. He’s just about ready to give up when he stops at a café and strikes up a conversation with Sylvie, the lively daughter of the owner, who sends him to ‘Madame Brown’s’. It’s the place he’s been searching for... large, shabby and forbidding.
And so Paul meets the imperious and beautiful Madeleine, in her late fifties, daughter of Colonel Brown, deceased. A musician, living alone, she now earns what she can as a piano teacher.
Paul uses a false name and pretends he wants to study the house’s architecture. He talks his way in helped by Ahmed, the Algerian retainer, who is doing his best to keep the house from falling down. He takes to Paul in a fatherly sort of way, and persuades Madeleine to let him stay in the house.
Madeleine is intrigued by this good looking young man, yet soon suspicious too, and she’s got an automatic pistol by her bed.
A complex dance ensues between Madeleine and Paul, (with Ahmed wryly in attendance) in this house and garden full of mysteries. He searches and hides from her. She tries to trick and unmask him. First one seems the stronger then the other, and both have dangerous secrets to reveal… When all the painful truths have been pulled into the light, comes Madeleine’s final astonishing revelation...
And through it all, Sylvie’s been falling for Paul. She’s like a second in Paul’s corner of the ring; finally he’s out of the fight, a little bruised, but bearing the prize. And there she is.
(Quelle: Charles Garrad)