Bitter Moon

1994 "A kinky voyage with a full head of steam."
7.2| 2h19m| R| en| More Info
Released: 11 March 1994 Released
Producted By: Columbia Pictures
Country: United States of America
Budget: 0
Revenue: 0
Official Website:
Synopsis

A passenger on a cruise ship develops an irresistible infatuation with an eccentric paraplegic's wife.

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Reviews

Solemplex To me, this movie is perfection.
UnowPriceless hyped garbage
Suman Roberson It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.
Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.
paid in full This movie is heavy. It would have a 10/10 from me but I think they ran out of gas toward the end... Still a great movie nevertheless. The dialogue and scenes are a great back and forth. Without spoiling the movie I can say that all actors are strong. The fact that some scenes take place in a foreign country ENHANCES the quality of the movie ( which is not always easy to do.) Overall a great drama/romance movie.
PhilipHamilton92 Not as much as underrated as much as forgotten, "Bitter Moon" is a stellar portrayal of a dysfunctional marital relations ans a story of the edge between love and madness which opens the question whether love can make all of us madmen. The movie contains powerhouse performances from all actors involved and the fact that whole plot is happening on a boat leaves a sense of claustrophobia and suffocating. However, the real story and background lie in the flashbacks of a leading actor, played by Peter Coyote whose intimate confession to a fellow passenger (played by Hugh Grant) about his marriage, pushes Hugh's character in a bizarre triangle between his own wife (played by Kristin Scott Thomas) and Peter's character's wife (played by Emmanuelle Seigner). Both married couples are faced with desire, self-destruction and deceit in this poignant drama, which does carry a recognisable trademark of its director, Roman Polanski.
videorama-759-859391 Bitter Moon is one of those really good movies from 1993, another I imagine was overlooked. It could of not have gotten the respect it deserves, but respectively it should. Starting with the great opening score by Vangelis, in no nonsense style, we're thrown into the story. A reserved British couple, none more fitting than High Grant and Kristin Scott Thomas, though the other three mains are better than Hugh, are on board a ship, en route to Istanbul. They became part of this guy's game, crippled and of course bitter playboy, Peter Coyote. Through much flashback running time, we see how he got this way, where, before his crippling fate, he struck up a romance with a dependant beauty (Polanksi favorite, Seigner), many years his junior. What begins is one steamy affair, which slowly begins to break away, where I thought Peter Coyote's character, was for most part, during the flashback, was an utter ar..hole, where finally the romance puts a strain on him. I'm actually glad he got what he deserved, where now Seigner, the best performer in this, became the victor. Becoming a painful though aroused ear to Coyote's wonderfully and boldly descripted, if slightly explicit recounts is Grant, who stays for the long duration over many days, in Coyote's cabin. You really don't see much of KST in it, but it's more Seigner and Coyote's movie. The movies not explicit as you would expect, where you'd fare better with Body Of Evidence, earlier around the traps that year. Seigner's erotic scene, stroking her boobs with spilt milk indeed is the highlight, which owes a bit to 'Last Tango' in Paris. What the movie has that I loved, is the way this love stories told, in detail, as to how we see more differences of opinion, the more we firther through the story, where it worsens later in the break up phase. Seigner's so emotionally dependant on Coyote, the point where she suffers rejection, truly tugs on your heartstrings, where this dependence starts to weigh Coyote down. As for the finale shock ending, I would say it ended this very dangerously dramatic tale off beautifully. Love him or hate him, Polanski knows how to make movies, this one, of his greatest feats. Fine drama, all the way down the line. A definite track down.
chazz46-2 Much has been well described ad nauseum about the plot, music, background, character flaws, etc. of Bitter Moon. Besides all of these truths, there is something else that exists, namely the powerful feminine impact that Mimi portrayed to the extent that it seemed far too real to be left encased in the fantasy realm of movie art. Her character part as well as her actual beauty, dancing talent, and sexuality is the exponent of femininity, grace, and desirability. Men remain tortured by their obsession with everything that Mimi portrayed in the film. Not unlike Jean Seberg in Lilith, whose character mesmerized, beguiled, and commandeered most of those who ran across her path, Mimi had that quality which likewise reaches out beyond the movie itself to ensnare the hearts of all men. Not everyone gets it, but it is plain to see from galleries of fan mail to Emmanuelle Seigner, this one movie part seems to have entrenched her immortality into many men's souls. This gut-wrenching obsession with the magical combination of a certain actress coupled to a script and director brings forth restless insomnia for appreciative men as Seigner has done here. If Jean Seberg did not bring such an obsession, then consider Julia Roberts in Pretty Woman. Or try Kim Novack in Bell Book and Candle. These are a few of the magical concoctions of film art where the whole is much greater than the sum of its parts. Oscar's character even tries to elevate the beauty and desirability of the less stunning Fiona's character when he says, "But I find your own brand of beauty more subtle.....as that inimitably British quality......a kind of reticence that hints of untapped potentiality." Even Shakespeare, much less Oscar, cannot compensate with words for those who appear limited in physical beauty and sensuousness, while Seigner's beauty portrays endless potential for being tapped, you might say. And Polanski's product leads to a powerful representation of man's instinct and obsession for beauty, sensuousness, and the ideal everyman's woman. We see that Oscar, when given this rare opportunity in the eyes of the average man, totally blows it and ruins a most ideal relationship. Unfortunately, knowing Polanski's historical tragedies, I would think that he is telling us that we are probably no better than Oscar when it comes to successfully nurturing the ideal relationship. ChazzN