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Before Sunrise
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Additional DVD options | Edition | Discs | Price | New from | Used from |
DVD
November 9, 2010 "Please retry" | New Packaging ed. | 1 |
—
| $17.56 | $3.96 |
Watch Instantly with | Rent | Buy |
Before Sunrise | — | — |
Purchase options and add-ons
Genre | Feature |
Format | Multiple Formats, Color, Closed-captioned, NTSC, Anamorphic, Widescreen, Dolby, Full Screen |
Contributor | Dominik Castell, Erni Mangold, Hanno Pschl, Andrea Eckert, Kim Krizan, Harald Waiglein, Haymon Maria Buttinger, Ethan Hawke, Kurti, Karl Bruckschwaiger, Richard Linklater, Julie Delpy, Tex Rubinowitz, Bilge Jeschim See more |
Language | English, French |
Runtime | 1 hour and 45 minutes |
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Product Description
A heartbroken young Texas journalist meets a beautiful French student on a train bound for Paris, and invites her to share his last night in Vienna.
Genre: Feature Film-Drama
Rating: R
Release Date: 6-NOV-2001
Media Type: DVD
Product details
- Aspect Ratio : 1.85:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 2.72 ounces
- Item model number : MFR053939253122#VG
- Director : Richard Linklater
- Media Format : Multiple Formats, Color, Closed-captioned, NTSC, Anamorphic, Widescreen, Dolby, Full Screen
- Run time : 1 hour and 45 minutes
- Release date : November 6, 2001
- Actors : Ethan Hawke, Julie Delpy, Andrea Eckert, Hanno Pschl, Karl Bruckschwaiger
- Dubbed: : French
- Subtitles: : English, French
- Language : Unqualified (DTS ES 6.1), English (Dolby Digital 2.0 Surround), French (Dolby Digital 2.0 Surround)
- Studio : Turner Home Ent
- ASIN : B00002E224
- Writers : Kim Krizan, Richard Linklater
- Number of discs : 1
- Best Sellers Rank: #15,180 in Movies & TV (See Top 100 in Movies & TV)
- #547 in Romance (Movies & TV)
- #1,753 in Comedy (Movies & TV)
- Customer Reviews:
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Before Sunrise is a 1995 romantic drama film directed by Richard Linklater and co-written by Linklater and Kim Krizan. The first installment in the Before trilogy, it follows Jesse (Ethan Hawke) and Céline (Julie Delpy) as they meet on a Eurail train and disembark in Vienna to spend the night together.
It is not made explicitly clear until after the closing credits of 𝑩𝒆𝒇𝒐𝒓𝒆 𝑴𝒊𝒅𝒏𝒊𝒈𝒉𝒕 ,but 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆’s ability to toe the line between fantasy and reality is inspired by a chance encounter that would forever be ingrained in Richard Linklater’s memory. In the fall of 1989 a woman by the name of Amy Lehrhaupt met Linklater in a toy shop while passing by in Philadelphia, and they ended up spending the entirety of their day in addition to the entire night with one another. According to Linklater the conversations between him and Amy mirrored the seriousness of those between Céline e and Jesse - about art, science, film, the entire gamut - and they shared at least one kiss before being due to separate the following day.
In analyzing the differences between this story and the one created on screen, 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 intellectualizes this experience for audience members in a way that is believably approachable and holds on to remnants indicative of painfully wishful thinking. Jesse and Céline's initial encounter happens within the context of traveling through a foreign country with entirely provisional intentions; consequently, their openness to one another from the start needs little justification, and the rate at which they bond (given the uncertainty of their separate futures) is inherently plausible. Lehrhaupt and Linklater would go on to exchange contact-information and tried to keep in touch, but the couple was unable to overcome the challenges that come with maintaining intimacy in a long-distance relationship. Because of this, Jesse and Céline were written and conceived as characters that can hypothetically see beyond their horizons with optimism as opposed to expectations: with a commitment to the presence and the moments that are most immediately ordained.
(A not so #fanfact: In various interviews Linklater has admitted to openly lamenting the fact that he never heard back from Amy even after 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 was released, and it was not until three years prior to 𝑩𝒆𝒇𝒐𝒓𝒆 𝑴𝒊𝒅𝒏𝒊𝒈𝒉𝒕 being released that he would find out at least one reason for this. why. On May 9th, 1994 Lehrhaupt died in a motorcycle accident, and 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 would start filming a few weeks later).
Linklater spent nine months alone trying to find actors that would fill the roles of Jesse and Céline . Ethan Hawke's was originally labeled as being “too young”, but would be offered his part after auditioning amongst approximately 10,000 other people. The acquisition and securing of Julie Delpy (who was considered alongside bigger names like Gwyneth Paltrow Jennifer Aniston) was due in part because of her French accent as it would give the impression that Jesse is meeting someone that is “ outer worldly” and after doing a reading with Hawke it would be evident that their chemistry was both palpable and absorbing.
Hawkes and Delphy's influence on 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 Before Sunrise would go beyond their physical presence on screen: they would allegedly re-write almost the entire contents of its screenplay.
Their improvisations would change the tone of their interactions from mechanical to romantically inclined: with the flexuous nature of their relationship being captured through the enormity of nuances that define it. As separate personalities Jesse and Céline are revealed as having significant differences that make conflict inevitable - like variances in cynicism optimism making themselves intermittently explicit - with their similarities acting as an inescapable magnet between these seemingly star-crossed lovers.
Is 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 self-indulgent? To some degree - arguably so.
The universality of the interests plaguing its characters is presumed without question, and this is reinforced by conversations that are rarely dominated by the triviality that sometimes dredges the uniquely human experience. Underneath the surface, however, is a constant desire for catharsis, and the elements making this possible will not be lost on individuals with a consistent and persistent drive towards sociable productivity; 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 ‘s script endorses vulnerability as a liaison to growth, and secondary to this touches on the burdensome impact that time has on our ability to connect with one another in a way that is permanently engraved.
Despite its obsession with personifying the space between the strange and the ordinary as tangle sources of sustenance, 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 maneuvers along without entirely compromising its purpose or flippantly alienating its audience members to the point of inundation or bitter exhaustion. On a personal note, 𝑩𝒆𝒇𝒐𝒓𝒆 𝑺𝒖𝒏𝒓𝒊𝒔𝒆 is less about romance to me then it is about coping with a continuity of confusion that often defines who we are: what we perceive as motivation for growth, and how split second decisions can influence the trajectory of our entire lives. Life is not simply a matter of what we give and take away from others, but perhaps more acutely defined as an accumulation of reciprocities resembling perpendicular and paralleled idiosyncrasies.
Whether we all remain tethered to one another directly or merely associated in passing, what we do with both what (and to a further extent, who) we are handed matters: both inside the grand scheme of things and within the confines of our ever assembling and isolated peculiarities.
Before Sunrise, though, is one of the best movies ever made. I carry around with me my own list of top 10 best films of all time, and this one, along with its sequels, always vies for top honors.
There's one thing, though, that all of the films on my list of "best ever" have in common: they transcend their ostensible subject matter. You can watch Before Sunrise, as many have, and say that it's a charming love story. But you won't remember it for that reason. You'll remember it because you'll watch it and then realize that you've seen something you didn't quite understand fully. You'll have to watch it again. And when you do, you'll see details that you missed the first time; you'll hear conversations again and be mystified; you'll watch train tracks rush by in the beginning and have to pause the film because you realize that they presage something significant that the movie is about.
When you first see those train tracks rushing by, they seem to be a backdrop for the credits. And that they are. But in great films, as in great works of art, there are no gratuitous details. Those train tracks rushing by will come to represent the fleeting nature of human relationships, the urgency of seizing the moment, the speed at which life shifts direction (notice the shifting of train lanes).
After a few pastoral scenes that set the stage, the next shot is out the back of the train, showing life already lived, fading fast. All of this becomes significant as the film progresses. You don't know this, of course, on first viewing. And in many films, you're never tempted or compelled to view the film again. But with this one, you are, and when you do, you'll pick up on these details. (It might take a few viewings, a few years.)
One of the reasons that the movie always reasserts itself on my list of top films of all times is that it constantly intersperses exposition and symbolism, and it tells a story, and sends a message, through silence, without saying, or having the characters say, anything at all. The final scene is a case in point. What you see are a collection of locations largely void of people. Those locations, earlier in the film, were brought alive by the energy of the movie's two protagonists, Jessie and Celine. By showing the same locations at the end of the film without Jessie and Celine, filmmaker Richard Linklater articulates something almost ineffable. It has to do with the nature and the source of significance, the reminder that the energy of a place is dependent solely on those who provide the energy, and the sadness inherent in visiting places devoid of the people that once gave them meaning. It has to do with much more, as well, which is but one reason why the film is worth watching repeatedly--and will likely remain with you forever.
Before Sunrise, from its title to its final credits, is a work of art--and a love story, by the way. Even better, it is the first of an unparalleled trilogy of films, the latter two of which I will get to later. For those who haven't seen it, or its sequels, how lucky you are.
Top reviews from other countries
Il est difficile de définir ce que je ressens précisément en voyant ce film mais les émotions qui me submergent sont comme une immense envie de vivre et d'aimer. J'avais vu sur des sites américains certaines critiques négatives sur ce film :-(
Je peux toutefois les comprendre car comme tout film très personnel, il a ses fans (j'en fait partie) et ses détracteurs (des amateurs de cinéma sans doute en froid avec leurs émotions ou n'ayant jamais vécu ce genre de situation). Pour moi, c'est en quelque sorte une poésie à l'état brut. Et elle m'a touché d'autant plus que j'ai vécu une expérience similaire. Ce film est un de mes 10 films préférés de tous les temps.