With short steps, bent under the pitiless burden of a driving snowstorm, the emperor penguin labours through a vast labyrinth of ice. Around him, all is white, all is in violent flux. Yet the valiant bird never falters, undaunted by seemingly insurmountable obstacles. He keeps going. In this land where no other creature ventures, the emperor continues on to his romantic rendezvous. As it follows the winter migration of the emperor penguin, "March of the Penguins" tells a tale of legendary proportions, portraying the strange, spectacular destiny of powerful and emotionally-involving characters, rich in courage and humour, mystery and manifest drama.

    My goal is to dig from the ice a story which has never seen the light of day for want of a teller. A true story, however extraordinary. A story repeated every winter, as it has been for hundreds of thousands of years. But there has never been a generation of men to witness and shape it, to pass it down, for man has never colonized the Antarctic. The emperor penguin had never encountered man before the first polar explorers arrived barely a century ago. In 1950, when tentative, makeshift bases were established here, scientific observation had replaced legend as Man's preferred narrative.

    The emperor penguin and man have not lived together long enough for folktales or myths to develop. They remain strangers, crossing on rare occasions in the vast desert expanses of the Antarctic.

    With this in mind, my desire is to tell a real story: through the extraordinary images of the emperor penguin during the austral winter, images that have always fascinated me; and with words worthy of both the Antarctic's excessive nature, and the emperor's epic destiny. It is time for the emperor's legend to be told.


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    It's impossible to watch the thousands of emperor penguins huddled together against the icy Antarctic blasts in Luc Jacquet's documentary film without feeling a tug of anthropomorphic kinship. Never mind that emperor penguins have been doing this for millenniums and that this is their way. The feeling that these creatures are brave, indomitable souls surviving unimaginable physical hardship for the sake of their families is inescapable. This sentimental but riveting film has no qualms about playing on our emotions. One teaser ad announces, "In the harshest place on earth, love finds a way," over a picture of a mature penguin gracefully bending down to feed one of its open-mouthed young from its beak. Although "March of the Penguins" stops mercifully short of trying to make us identify with the hardships overcome by a single penguin family, it conveys an intimate sense of the life of the emperor penguin.

    Stephen Holden, The New York Times

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    Synopsis :

     In the Antarctic, every March since the beginning of time, the quest begins to find the perfect mate and start a family. This courtship will begin with a long journey – a journey that will take them hundreds of miles across the continent by foot, in freezing cold temperatures, in brittle, icy winds and through deep, treacherous waters. They will risk starvation and attack by dangerous predators, under the harshest conditions on earth, all to find true love.

    Directed by: Luc Jacquet As told by: Morgan Freeman Cast: Introducing the Emperor Penguins This film is rated G. Scheduled to open: June 24, 2005

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  • Miss, Mister,
    My name is MG, i'm a french film student of 22 years old...
    Yersterday, Canal+ diffused the last part of "Speer und ER" " Speer et hitler -L'architecte du Diable-"
    i realy enjoyed your docu-fiction and will be realy happy to get a press file / production file of the film
    this is my adress :
    The second thing, screenwritting / directing
    concerning the suposed good, reason, sub-text of the film:
    the director / screenwrittor of the film might be very touched to meet the concerned man, but, i'm realy confused to understand that Speer is saw as a victim, and the all film is directed for the audience to feel sad, pity, guilty about or for him...
    what does  the screenplay wanna say, or excuse... what does it want us to feel and understand? The film is realy distrubing when it's directed...and look to be politicly engaged to save him, and detaches him of problem of morality, as excused by the director .
    the Speer's character is used in a single dramatic way, detached or concerned, when it look good to be, leaving to Hitler every responsabilies.
    it's a single psychological, so subjective version of the title named man story.
    the prison sequences are well done, but why does the screenplay want me to feel bad for him, why should i ?
    threre is an obvious wished way of telling that story, choosed against morality.
    Speer children interviews are the only orignal, interesting elements of it, wich ironicaly, contrast the directed part, more depth, and subtilities, doubts concerning Speer and their own father.
    Concerning the form,
    It's an exelent film, realy well directed, and edited, and i liked "the story" as fiction anyway, done with a crew of very good professionel,the photography is well used, and the actors done a  good performance,even if Speer's actor, famous actor in germany (i know that!) looks like Oliver Stone.Costumes... and above all decors are great!!!
    I liked to fallow it .
    I doubt you'll answer me, 'cause of the point of views and the answers i want...
    i'll be please to get, if it exists in english, the shooting script in pdf if possible, and the screenwriter / director  note, to come back on it...
    just tell me i'm wrong to think that way... i'll feel better.
    In the hope of your answer,
    please trust in my salutation.

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  • Réussir une synthèse.

    Ce documentaire-fiction est l'oeuvre du cinéaste Heinrich Breloer, qui a personnellement rencontré Albert Speer quelques mois avant sa mort. Un homme « affable, charmeur, serviable », qui lui proposa « très gentiment de consulter son journal intime ». L'idée de raconter à la fois la vie d'une famille allemande pendant le IIIe Reich et le procès de Nuremberg ne vint que plus tard à Breloer. En reconstituant le parcours d'Albert Speer, il allait réussir cette synthèse. D'autant qu'au fil des années, le portrait plutôt flatteur que l'architecte s'était construit commençait à perdre des couleurs. Ainsi découvrait-on que l'« artiste-créateur détaché des réalités » qu'il prétendait être avait été au plus près des réalités du pouvoir : ami et confident d'Hitler, ministre de la Guerre à partir de 1942, il autorisa des constructions dans certains camps de concentration. L'architecte officiel du Reich ne pouvait ignorer les réalités et les horreurs de la Shoah. Autant d'éléments qui, connus au moment de Nuremberg, lui auraient valu la peine capitale.

    Talent d'organisateur.

    Partant du procès, le film est bâti sur une habile alternance de flash-back (des scènes jouées par des comédiens), de documents d'archives et d'interviews. Servi par une reconstitution minutieuse des décors, il revient sur le parcours de ce militant exemplaire qu'était Speer, de son inscription au parti nazi, en 1931, jusqu'à sa chute. On le voit donc servir les projets mégalomaniaques puis criminels de son idole sans le moindre état d'âme. Son talent d'organisateur en tant que ministre de la Guerre contribua d'ailleurs à allonger la durée du conflit. Pour étayer le propos, le réalisateur a rencontré les enfants de Speer, qui parlent pour la première fois. Ils se souviennent ainsi avec effroi et des images sont là pour le rappeler qu'ils ont sauté sur les genoux d'Hitler. Et ils disent toute la difficulté d'évacuer ces moments. « Ce qu'on lit dans le regard des enfants de Speer confrontés aux documents qui accablent leur père, souligne Heinrich Breloer, aucune image de fiction ne peut le restituer. »

    « L'Architecte du diable », sur Canal +. Demain à 20 h 55 : 1e partie; lundi 14 novembre à 22 h 30 : 2e partie; mardi 15 novembre à 22 h 20 : 3e partie

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