ellauri147.html on line 221: She sees Pierre at the ballet so she walks into his private box to talk to him so he will remain with Savior. Camille invites Emily to lunch and asks if Savior could take on her family's champagne vineyard as a client. Mindy's friend and her five bridesmaids are in Paris for weird dress shopping. Camille invites Emily to meet her family at their chateau.
ellauri147.html on line 225: Back at the chateau, Camille and her mother are arguing so Emily takes on refugees
ellauri161.html on line 1131: A young priest arrives at the small village of Ambricourt, his first parish assignment. He arrives alone by bicycle and is met by no one and unpacks his meager belongings. A couple at the chateau eye him suspiciously and walk away. He begins a diary, which he narrates throughout the film. This is very, very old-fashioned, would not do in Netflix anymore. Because he often feels nauseous and dizzy, he chooses a strict diet free of meat and vegetables. Instead, he has wine and wine-soaked bread with sugar. No wonder he dies in the end (oops, spoiler, sorry).
ellauri161.html on line 1133: A man from his parish demands a full service funeral for his wife and says he will not pay for it. He confers with the priest of Torcy. The girls of the catechism class laugh at him in a prank, whereby only one of them pretends to know the Scriptural basis of the Eucharist so that the rest of them can laugh at their private conversation. His colleagues criticize his diet of bread and wine, and his ascetic lifestyle. "Concerned" about Chantal, the daughter of the Countess, the priest visits the Countess at the family chateau, and appears to help her resume communion with God after a period of doubt. The Countess dies during the following night, and her daughter spreads false rumors that the priest´s harsh words had tormented her to death. Refusing confession, Chantal had previously spoken to the priest about her hatred of her parents.
ellauri171.html on line 217: His father, Marcel Théodore Tissot, was not a watchmaker but a successful drapery merchant. He took part in losing the war of 1870 and in the Paris Commune. In 1885, Tissot had a revival of his Catholic faith, which led him to spend the rest of his life making paintings about Biblical events. Many of his artist friends were skeptical about his conversion, as it conveniently coincided with the French Catholic revival, a reaction against the secular attitude of the French Third Republic. They brought Tissot vast wealth and fame. Tissot spent the last years of his life in his chateau working on paintings of subjects from the Old Testament. Although he never completed the series, he exhibited 80 of these paintings in Paris in 1901 and engravings after them were published in 1904. In the first half of the 20th century, there was a re-kindling of interest in his portraits of fashionable ladies and some fifty years later, these were achieving record prices.
xxx/ellauri129.html on line 638: Son mari, Albert Dardenne de la Grangerie, était fameux journaliste, rédacteur entres autres du Figaro et du Messager du Midi. Marguerite de la Grangerie fut avec son mari très liée au couple Gautier, Judith et Théophile. Elle était la petite-fille du duc de Persigny, propriétaire du chateau de Chamarande ou Théo séjourna en 1866. Ce dernier lui dédiera d’ailleurs deux sonnets dont « les poètes chinois… ». Usant de plusieurs pseudonymes tels que Philippe Gerfaut et Marie-Alix de Valtine, elle est l’auteur entre autres du roman Le passé de Claudie (1884), des Pensées d’un sceptique (1886) et de Belle et bonne histoire d’une grande fillette (Prix Lambert en 1890). Superbe exemplaire dans une reliure mosaïquée parfaitement établi par Louis Pouillet. Petites taches pâles sur le plat supérieur‎. Gerfaut puuttuu Vaakun hakemistosta.
xxx/ellauri176.html on line 164: is first of all a misnomer because the priest is alive and well at the end. A mixture of social realism and Walt Disney, it is a tale about a delicate young French priest, Father Mouret (Francis Huster), who elects to take a parish in the provinces where the peasants have long since embraced every sin there is. The priest himself successfully sublimates his own lustful thoughts in prayer until one day he meets a strange young woman, Albine (Gillian Hills), who lives with her atheistic uncle in the remains of an old chateau set in the middle of a magic garden.Well, one thing leads to another and poor Father Mouret loses his memory long enough to lose himself to worldly pleasures in the garden with Albine, who, like Eve, tempts the man, though in this case the author is clearly in favor of apple-eating. Things go very badly for the couple. The priest returns to his church and Albine commits suicide in a way that is unique in my movie-going memory: She smothers herself to death with calla lilies.The actors are steadfastly unconvincing. The one interesting character in the film is an old lady we meet only after her death—someone, we're told in shocked tones, who, during the Revolution, posed naked as a living-statue of Reason.
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