Imdbidia A very original and interesting historic movie that tells the story of a famous French composer and cellist of the 17th century M. de Saint Colombe, who outcasts himself from the Court and society, refuses to play in public and teach anybody who is not his daughters, and lives simply with his three daughters in their countryside manor, devoted to a simple strict and almost ascetic life.The script is very good as analyzes the opposition between fame-quality in Art and in the personal life of an artist, and between music as a bunch of sounds and music as a piece of art. The personal stories of conquest and love are quintessentially 17th century, very charming and naughty on one hand, very fresh and naive on the other. The atmosphere of the movie is very good, and mixes well both bucolic and baroque elements typical of the art and life in that period.The acting is OK in their roles, although none of them shines especially. Moreover, the training of the actors to fake their playing of the instruments is poor, and you can see clearly that they are not playing. We all know that, but a little bit of more training in mimicking the play would have added credibility to those scenes, which, otherwise just look fake. The movie is very slow and unengaging at the beginning, but being a little patient pays off at the end.The movie is a little bit dull at times, but it has a good script, wonderful viola and cello music, and explores interesting concepts.

kushka53 A turgid, exhausting film filmed with overwrought acting. Watching Depardieu was an embarrassment. It was a waste of my time. Some beautiful music but a repetitious soundtrack and thin story. Beautifully lit, tho'--so many scenes were Vermeer paintings on celluloid. The director may be a jazz musician but he doesn't know squat about film making. For film making that attempts to tell a story that involves classical musicians I'll take Amadeus any day! And so gloomy!! Wow, watching this film was like being at a funeral on Xanax, half asleep, and surrounded by nothing but sadness and eye rolling. It was a real downer.

Armand Skin of ineffable miracle. Music like support of dreams,memories, a powerful love, harsh duty, disillusions, expectation, intangible spell and magic silence. Touching beauty and exercise of admiration. But the root remains a magnificent novel. It is very hard to define a perfect film about a master- shadow. At first, for the original form to present the soul of a special style. The words about music are not music but their impact for the reader may be more fascinated, more profound than any real musical rendition.In fact, "Tous les matins du monde" is a delicate homage for a lost time, a ambiguous glory of a age of a king, a dazzling brilliance and a melancholic contemplation. In same time, it is a splendid parable. Possession of ineffable, love like ladder between two different worlds, mystery of touching, forms of freedom and meekness, ambition of young man for who the victory is a deep exploration of life's taste, for who the price is more little in perspective of luxurious victory against the others are elements of subtle tale in which illusion is the heart of every existence.Monsieur de Sainte-Colombe is not only historical character or legendary viola's master, but he is European image of a Zen teacher in a century of flavors, lights and pleasure, sophisticated hypocrisy and Roi-Soleil. Jean-Pierre Marielle is impressive for the science of details revelation of a difficult role.Marin Marais is ordinary man for who the birth is duty to be somebody. The poverty, the humiliation are elements of a past who must be forget. The triumph, in any mode, in any form must be the fruit of a tense desire.I am a Pascal Quignard fan and this passion may be part of subjectivism but, this movie is not only a novel adaptation, or only a film about music. It is occasion to discover the real beauty of life, sadness, melancholia or desire. To discover a possible path to the sense of life. And I believe in this message importance.

noel_carolyn This could be the perfect movie. Visually, it's like walking through a seventeenth-century French painting. The music is rich and beautiful -- through it, we were introduced to the work of St Colombe and Marin Marais. The acting, as one would expect of French films in the the 1980s and 1990s, is consummate, and the characterization is totally convincing: the first five minutes of 'Tous les Matins du Monde'are memorable, the very best of Gerard Depardieu and French cinematography and music. The film progresses at its own speed, with the happiness, sadness, and (nostalgic) sensitivity which also characterize the Pagnol films. Could be? Is!