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THE JOURNEY TO ARMENIA
by Lisa Nesselson
Variety
August 7, 2006 - August 13, 2006
(FRANCE)
A Diaphana release of an Agat Films & Cie. presentation of an Agat
Films & Cie., France 3 Cinema production with participation of
Paradise, Canal Plus, CineCinema, CNC. (International sales: Films
Distribution, Paris.) Produced by Robert Guediguian, Agat Films &
Cie. Co-producers, Martin Adoyan, Taguhi Karapetyan.
Directed by Robert Guediguian. Screenplay, Ariane Ascaride, Marie
Desplechin, Guediguian. Camera (color), Pierre Milon; editor,
Bernard Sasia; music, Arto Tuncboyacyyan; production designer, Karim
Hamzaoui; art director, Karim Hamzaoui; costume designer, Anne-Marie
Giacalone. Reviewed at MK2 Odeon, Paris, July 13, 2006. Original title:
Le Voyage en Armeinie. Running time: 117 MIN.
With: Ariane Ascaride, Gerard Meylan, Simon Abkarian, Serge Avedikian,
Chorik Grigorian, Roman Avinian, Kristina Hovakimian, Madeleine
Guediguian, Marcel Bluwal, Jalil Lespert, Jean-Pierre Darroussin.
Title expedition in "The Journey to Armenia" is a long haul, as a
no-nonsense French cardiologist from Marseilles searches for her
abruptly AWOL father in the shadow of his native Mount Ararat.
Watchable odyssey follows the familiar template of a successful,
secular urbanite reluctantly discovering her ethnic roots, with social
and historical relevance injected along the way. Guediguian completists
--- a commodity in which Gaul abounds --- and the Armenian diaspora
will bite, but leisurely venture has as many endings as the third
installment of "The Lord of the Rings."
Ariane Ascaride originated the story, assigning herself the relatively
unsympathetic role of Anna, the only daughter of a deceased Italian
mother and an Armenian father, Barsam (Marcel Bluwal). When Barsam,
who needs heart surgery, hightails it to his homeland without warning,
peeved Anna leaves hubby and daughter for a week to track him down,
finding (surprise!) herself along the way.
Matters perk up when it turns out Anna knows how to wield a gun as
well as a stethoscope. Pleasing score and scenery help pass the time,
but result remains conventional and just a sliver short of contrived.
by Lisa Nesselson
Variety
August 7, 2006 - August 13, 2006
(FRANCE)
A Diaphana release of an Agat Films & Cie. presentation of an Agat
Films & Cie., France 3 Cinema production with participation of
Paradise, Canal Plus, CineCinema, CNC. (International sales: Films
Distribution, Paris.) Produced by Robert Guediguian, Agat Films &
Cie. Co-producers, Martin Adoyan, Taguhi Karapetyan.
Directed by Robert Guediguian. Screenplay, Ariane Ascaride, Marie
Desplechin, Guediguian. Camera (color), Pierre Milon; editor,
Bernard Sasia; music, Arto Tuncboyacyyan; production designer, Karim
Hamzaoui; art director, Karim Hamzaoui; costume designer, Anne-Marie
Giacalone. Reviewed at MK2 Odeon, Paris, July 13, 2006. Original title:
Le Voyage en Armeinie. Running time: 117 MIN.
With: Ariane Ascaride, Gerard Meylan, Simon Abkarian, Serge Avedikian,
Chorik Grigorian, Roman Avinian, Kristina Hovakimian, Madeleine
Guediguian, Marcel Bluwal, Jalil Lespert, Jean-Pierre Darroussin.
Title expedition in "The Journey to Armenia" is a long haul, as a
no-nonsense French cardiologist from Marseilles searches for her
abruptly AWOL father in the shadow of his native Mount Ararat.
Watchable odyssey follows the familiar template of a successful,
secular urbanite reluctantly discovering her ethnic roots, with social
and historical relevance injected along the way. Guediguian completists
--- a commodity in which Gaul abounds --- and the Armenian diaspora
will bite, but leisurely venture has as many endings as the third
installment of "The Lord of the Rings."
Ariane Ascaride originated the story, assigning herself the relatively
unsympathetic role of Anna, the only daughter of a deceased Italian
mother and an Armenian father, Barsam (Marcel Bluwal). When Barsam,
who needs heart surgery, hightails it to his homeland without warning,
peeved Anna leaves hubby and daughter for a week to track him down,
finding (surprise!) herself along the way.
Matters perk up when it turns out Anna knows how to wield a gun as
well as a stethoscope. Pleasing score and scenery help pass the time,
but result remains conventional and just a sliver short of contrived.