Night Train to Lisbon


Action / Mystery / Romance / Thriller

Rotten Tomatoes Critics - Rotten 42%
Rotten Tomatoes Audience - Spilled 60%
IMDb Rating 6.8 10 15841


Uploaded By: OTTO
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September 11, 2013 at 07:50 PM



Mélanie Laurent as Young Estefania
Christopher Lee as Father Bartolomeu
Jeremy Irons as Raimund Gregorius
Charlotte Rampling as Older Adriana
720p.BLU 1080p.BLU
810.69 MB
23.976 fps
1hr 51 min
P/S 2 / 19
1.64 GB
23.976 fps
1hr 51 min
P/S 1 / 5

Movie Reviews

Reviewed by conannz 7 / 10

The new glasses is a clunky metaphor but it works

In the first part of the movie when the Portuguese woman is tackled by the teacher character I felt that thud. What happened next is an anti climax. Instead of a conversation about what was happening we got a kind of non-physical shrug and some vague agreement that the woman will go with the teacher back to his place of work.

The movie is about pivotal moments and about what might have been. It is about memories and places and while there is physical travel it is more about about experience and the alternate possibilities that draw us into the story.

I did like the sense of revelation that the teacher - Raimund was on a journey to get in touch with part of himself. At various times he seems oblivious to his context and other times quite the artful observer but only second hand through the eyes of the poet whose life he is researching. That poet was a bit of a philosopher which resonates with our Professor / teacher character.

There is a key moment early on his trip to Portugal where a cyclist collides with him and breaks the lens in his glasses. This is a very clunky metaphor to show us the character quite literally seeing events in a new way. His new glasses will take some getting used to says the Portuguese woman who is also an optometrist - a doctor of sorts.

The parallel story of the professor and the optometrist is somewhat muted but it does counter balance the historical back story which is revealed to us through the memories of various characters using flashback sequences.

What works well in the movie is a series of cameos from older actors. The philosophical tone of the book is also perceptive. The way we notice the multiple levels or layers in the story is also gentle and unforced.

What doesn't work so well is way everyone speaks English when Portuguese and subtitles would have been a better choice. I'm not sure if Jeremy Irons is supposed to be Swiss or English but he does appear to speak Spanish and Portuguese as a professor of languages would. It is just I can't remember the last time I saw Irons in a film and he always seems to be very English so maybe a less typecast actor would have been better in that role.

As a series of reflective observations on life and how some moments can bring big changes I enjoyed this somewhat oblique story.

Reviewed by clanciai 10 / 10

Another masterpiece by Bille August

His knack is to tell fascinating and important stories by subtle understatements. He has done it again and again. Here a solitary and somewhat aging teacher in Bern, Switzerland, finds himself suddenly in an awkward situation, when a girl obviously intends to jump off the bridge he is passing. He saves her life with consequences. She disappears as a perfect enigma but leaves behind a book containing poetry written by some Portuguese. The last class the teacher Jeremy Irons held in Bern was about Marcus Aurelius and his philosophy, and the book left behind is very much in the mood of the philosophic emperor, so much that Jeremy Irons gets obsessed by it and goes to Lisbon just to continue delving into more matter for the story he obviously has stumbled upon by accident.

The film is throughout held at a very low key and pace but at the same time remains inescapaby intense, as a very complicated love story in the shadow of the revolution in Portugal 1974 unravels. Bille August is expert at poignant story telling, and this might be his best film so far. All the actors are wonderful and compliment each other marvellously, only Jeremy Irons always remaining the same, and Jack Huston as the poet, while all the others also are played by parallel actors 40 years earlier. The drama is told with perfect constraint all the way, nothing is dramatised, which only enhances the effect of a very human and naturally tragic drama of intricate relationships. Charlotte Rampling makes a strong appearance as the poet-doctor's sister, and also Christopher Lee, Tom Courtenay and Bruno Ganz show up to finally bring it all to a proper and very satisfactory conclusion with the irresistible Lena Olin. All the young actors are also perfect.

In brief, this is a typical Bille August masterpiece to remember and see again once in a while, because it's a story you shouldn't forget, and it is told with totally convincing pregnancy.

Reviewed by robert-temple-1 10 / 10

How studying the past can give you a future

Having just returned from Lisbon by air, I thought I should return immediately by night train, so I watched this wonderful film again. The film is based upon the brilliantly-plotted best-selling novel of the same title by Pascal Mercier, the pen name of a Swiss writer from Bern, whose real name is Peter Bieri. It is the only novel of his which has yet been filmed. This film is a complete and total success. It was directed by the Danish director Bille August, and the studio work was done in Hamburg, but the location work, of which there is plenty, was done in Lisbon with some in Bern (and I thought I glimpsed a scene in Peniche). The film contains actors from several European countries. The film is therefore what in the business is described affectionately (and sometimes derisively) as 'a Euro-pudding'. But this is a truly delicious pudding, just as good as any Portuguese custard tart (known as a pastel in Portuguese, where the 's' is pronounced 'sh' and the accent is on the second syllable; my Portuguese lessons are available at one million pounds an hour: any takers?). Greg Latter and Ulrich Herrmann did the screenplay. Director, novel, screenplay, and cast, are all superb. There are several excellent cameo roles by famous actors. Tom Courtenay, Charlotte Rampling, Christopher Lee, and Bruno Ganz are all scintillating, and I don't believe I have ever seen Tom Courtenay do a better job on screen than he does here playing one of the key characters when older. As for Charlotte Rampling, is there anything she cannot do? Really, one gasps at these old pros at work. And if anyone ever wondered about Jack Huston, here is the concrete proof that he is at the top of his profession, sheer perfection itself as the lead young man, Amadeu. But the film as a whole is held together by the main actor in the story, Jeremy Irons. I don't believe I have ever seen him do a better job either. When he was younger I occasionally found him annoying, as I did the one time I met him at a mutual friend's 50th birthday party. (I won't say who was the woman with bright red glistening lips and a practiced backwards lean when snogging whom he would not stop kissing in front of everyone, but I found it significantly slobbery.) But here Jeremy Irons atones for all previous annoyances by being inspired and moving. Frankly, he makes a better middle-aged and aging actor than he ever did as a young man. And he genuinely 'makes' the film. So hats off to you Jeremy, as your acting irons have never been hotter. As for the pulchritude contingent ('pulchritude' being Charlie Chaplin's favourite euphemism, by the way, so it has a cinematic pedigree), we have both the ravishingly beautiful Mélanie Laurent and the warm and beneficently smiling Martina Gedeck to stimulate all of our male hormones (those of us who have them), and to deliver superb and moving performances. Yes, this film has something to offer anyone, not least the intricate and emotional story. Also, the final scene is a classic. The story commences in Bern, Switzerland, where the author of the novel lives. Irons is a teacher at the university, divorced for five and a half years, demoralised, who believes himself to be boring (and with some justification), whose life is uneventful and who lives as a dry stick. He is walking across the high bridge at Bern when an unexpected and highly dramatic event occurs which changes his life entirely. A girl is standing on the edge, about to throw herself off and commit suicide. He saves her. From that moment on, nothing is the same. She is a mysterious Portuguese girl whose identity he does not know. He fortunately knows Portuguese himself and later in the film we realize that he can even quote Fernando Pessoa's poetry, which is my view is the qualification for being a true gentleman. The girl flees and leaves her coat behind. He impulsively takes the night train to Lisbon to try to find her. In the pocket of the coat he discovers a rare book of poetry by an unknown Portuguese poet, whom he also tries to find, as the poetry is so beautiful. He then becomes involved in an unimaginably complex web of intrigue and events of the past, culminating in the revolution of April 25, 1974, 'the Red Carnation Revolution', when the horrible dictator Salazar was overthrown by rebellious soldiers who stuck red carnations in the barrels of their guns. The story is extremely intricate, the pieces of a gigantic puzzle fitting together in the most unexpected ways, and Irons discovers, as a result of his spectacles being crushed by a motorbike, that he is not boring after all. The tale is uplifting, profound, and moving. This film is worthwhile for anyone.

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