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By that time, it had become acceptable for men to care for children, and for them to openly display tenderness and affection. However, my impression is that in France, is it or was looked askance upon when men take on the maternal role; their reluctance towards admitting affection towards Marie, even after she has left them for a while and they find themselves pining for her, betrays this attitude. Le film en francais et ce qui en anglais, les deux versions presentent la meme chose en different facon. Mais tout est emouvant. Le bebe est le plus important. Il peut changer notre pensees.

En france il y'a un film "3 hommes et 1 couffins 18 ans apres" qui est la suite de 3 hommes et un couffin 1. Y'a t'il eu une suite aussi aux usa? The French film, eventhough it is older than the American version, feels more contemporary. The American film feels outdated due to the ridiculous fashion and style of Americans in the 's. I believe that the American version is more childish than the French version. There is a need for a "happy ending. This "Hollywood Ending" is a style of American movies where there are no loose ends in and ending, and everything is tied up neatly.

However it would seem the French have no problem leaving an ending in a film open ended. Again, this is probably a stylistic difference between the film makers. I think that the French base the film on more reality that the Americans do. Des sentiments apparaissent et un changemetn radical se faire ressentir. I know many of these have been said before, but the major differences between the two stories were the tone and events after Sylvia comes for Marie. In the original French film, Sylvia takes Marie and the events are much darker.

Jacques and Michel also see the conditions that Marie is living in, but they don't do anything. There is a severe sense of post-partum depression that permeates through this segment of the film. In the American version, this entire chunk of time is essentially skipped over and replaced with a cliche impromptu rush to the airport to stop Sylvia before she leaves on the plane. Of course, they miss the plane, but in a perfect storybook ending, Slyvia is at the apartment waiting for them when they get back. The American remake is much lighter and less realistic--there are men in drag, a montage of happy times in the park and around the city, an action-packed drug dealer trap, and a mad race against time.

The French version is less fantastic and darker, with more heart ache filling the plot and less car chasing. C learly the US version affixes a great deal more importance to the drug-related part of this story and the eventual capture of the criminals , perhaps because it was intended as a family movie, and family films in the States tend to be very didactic and fable-like.

Bring Him Home (Comme Un Homme) Sheet Music by Claude-Michel Schonberg

I found it quite interesting to note, also, the extent to which the American version develops its plot through external means - action and dialogue - we see the car chase, we see the "elevator trap", we hear Jack say "he feels awful" about Mary leaving, and we hear Michael and Peter explain how much they've missed Mary to Sylvia when she returns from the airport. The plot is handed to us. This would seem to speak to the importance within French society of preserving one's image a man of impenetrable strength and machismo.

So the American men are not constructing a shallow exterior for themselves when the French are, but the French posses a depth of emotion which eludes the Americans. The irony! How realistic is this? The French version is very subtle, relying on pauses and patience to get the point across. My favorite example of this subtlety is the scene in which Michael is playing with Marie and very obviously adores her, but when Pierre walks in, there is a long silence, leaving it up to the audience to interpret Michael and Pierre's thoughts and feelings.

In contrast as others have pointed out , the American film is very far from subtle. Additionally, the American version isn't content with having the main characters be the ordinary sort of heros who take care of a helpless child out of simple human decency, but they have to be heros in the eyes of the rest of the world as well. The case that best illustrates this is the scene where they orchestrate the capture of the drug dealers.

To Onanga: I think abandoning your child, whether you're a mother or a father, is very, very disapproved of in the US.

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It depends, of course, on the circumstances of abandonment like what the conditions or situations are , but it is definitely a very tragic and horrible thing. I guess I find it very surprising that both films do not really show disapproval of Sylvia's actions, at least not as strongly as she likely deserves. One thing I liked about the French film is that it seems more timeless. I could tell from which decade the film was. I may not know much about French filmography, but it's clear that the movie is from the 80s because of the quality of the film and the way people looked.

The American remake, on the other hand, was obviously an 80s movie because of the fashion, the plot, the background, the music. The American version is a little cut out of what that decade was like and can only be applied in a relatively short period of time. The French film seems applicable and relatable for a much longer period of time. You have brought up a very interesting observation. In the French film, Pierre and Michel avoided going to work for quite a while. This surprised me a little bit while I was watching the movie because something like that would be quite unacceptable in the US.

I feel that offices here are quite strict about their employees coming to work regularly. Not coming to work in order to take care of a child would probably not be an acceptable excuse. Most offices even have daycare centers for the children of employees to help resolve this issue. I'm not sure why the policeman was on a horse. I actually found it just as strange as you did but maybe my American counterparts have a better response for you.

It's definitely uncommon to see policemen on horses in this day and age! I doubt that "boring" would be a way to describe my impression of the French version of the movie. There is no doubt that the American version has a lot more action but it just has to do with the tastes of the audience in both countries. In the USA, more action in the movie usually helps the movie to sell more. Personally, I think the French version was much more appropriate given the story line. I also once saw a movie called "Tanguy" which I absolutely loved! There is actually a sequel to the movie called "Three men and a little lady".

I haven't seen it personally in fact I only looked it up after you asked but I'm sure it's just as funny. I think it's funny that you thought the policeman being on a horse was just as weird as we all did. I just figured it was probably not as uncommon in France as it was here, but I guess not! French people, as we discussed in our video chat, get more time off than Americans, and it seems like you also have a more laid-back attendance in general.

In America, they definitely needed to go to their jobs during this time; otherwise, they might have actually lost them! A lot of American movies, actually, are based around circumstances that make it difficult for someone to work, and then some of the movie's humor will involve how they managed to work despite the circumstances for example, when the men in the American movie had Marie slung to their backs while at work. This isn't a very realistic example, though--it wouldn't have been acceptable for them to do that in real life.

I really liked that the French version focused primarily on Marie and the story surrounding her, and only mentioned the drug addicts as they pertained and affected Marie and the men's care of her. Sometimes I do find French films boring if I can't really get into the plot very well or don't feel like the characters are well developed, but that happens with some American movies as well.

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It's easier to have a less successful movie when it focuses more on emotions because it has to be done right to be effective. However, most of my favorite movies are ones that successfully do this. Regarding the drugs and American culture; the American version was filmed in the Reagan years, and it was his administration and his wife's "Just Say NO!

I'm not sure how the issue would be presented today, as the climate has changed significantly. Regarding the purchasing of food, I've found in France that they hours of shops differ greatly I believe many shops in France are closed Sundays, hence Pierre had to go to the special hour pharmacy. In big cities, it is not uncommon for pharmacies and grocery stores to be open 24 hours, 7 days a week So in the French film, it probably added to the men's stress.

In regards to two of your questions: first, policemen on horseback is a common thing in a few large American cities particularly NY. It is both a historical artifact, but also sometimes just an element of culture for the city. In the movie I believe it was used so that the policeman would not be able to follow the drug dealers like in the French movie. Instead, after the drug dealers easily escape, the policeman turns his attention to the next immediate suspect: Peter. If the policeman were in a car he would have likely followed the speeding automobile.

With regards to your second question: mothers who abandon their babies are not looked upon highly in the U. This is considered negligent and irresponsible and even if it is left with the father. In many ways we are still a very traditional culture and the mother-child relationship is sacrosanct. I found it interesting that when Jack's mother came to see his baby in the American film, she never asked who the mother was.

Did she assume that the mother had left the child? In the French version also, the mother was not too concerned that Sylvia had gone to the United States. I don't think Americans find the French film more boring because it contains less action, but they would definitely consider the film more serious. The American film, in my opinion, follows very stereotypical formulaic movie plots, where the heroes catch the bad guys and everyone ends up really happy. The French film was not nearly as unrealistic, and I think that actually draws more viewers in. Nowadays, the American film just appears somewhat silly and dated, but the French film still holds the same wit and appeal as it did when it was first released.

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I think the reason the drug trafficking theme was so much more prominent in the American film is because it provided action, one-liners, a chance to dress a man in drag, a car chase, and an opportunity for the main characters to be heroes. I don't necessarily think it was included because drug trafficking is a large problem in the US. What did you think of the difference in the endings? In the French version, there is a lot more angst and time between when Sylvia takes Marie and when they are reunited.

Does this seem more realistic? More powerful and emotional? Well guys, in New York City there are alot of cops that ride horses, especially around central park, I'm from New York city so I didn't even notice the cop on the horse because I thought it was so normal. I was wondering about the difference between the representation of Jacques mother in the French and American versions of the films. In what is a very significant difference between the fims, in the French version, the mother is temporarily excited about the baby but clearly not interested in setting aside her travels to take care of her.

In the American version, the mother truly seems to car for Mary, but urges Jack to take responsibility for her as a method for him to mature. Is the representation of Jacques mother typical among older women in France? Also, why do you think the director chose to make this change? Is there an underlying cultural difference that explains this? I though the difference between the mothers was particularly interesting.

Specifically, Jacques mother first asks, "do you have someone to take care of the baby? In the American version, Jack's mom acknowledges that he has no idea what do do, but now is the time for him to accept responsibility. Skip to main content. Am I incorrect? I don't know why my paragraph submitted itself three times. Le retour de Silvia les chamboule!

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Just spotted an error in my last post! Onanga, You have brought up a very interesting observation. Is it relatively easier for a French employee to get a leave of absence from their work? Abloh spent countless hours in and around the neighborhood in his twenties, hanging out at Supreme, the skateboarding shop and clothing brand founded by James Jebbia, in , and at the sneaker temple Alife.

He hoped to re-create the spirit of the area at that time. Still, his appointment at Louis Vuitton, last fall, was big news. He is the first black man to be an artistic director at LV, and the third to lead a French luxury fashion house. In his designs, Abloh has invoked Basquiat , Michael Jordan , and Michael Jackson, figures who have come to represent the essence of pop culture. At his LV office, he showed me a royal-purple sweater embroidered with the silhouettes of the Scarecrow and his entourage.

Abloh is hardly the first designer to have been inspired by Jackson, but he might have uniquely bad timing in expressing his admiration. Abloh is disarmingly earnest. Walking through the runway set, he took a few paces and stopped at a white monobloc lawn chair. The LV employees looked on. He frowned. Abloh is not the kind of designer who lets the clothes speak for themselves. Who knew if they were even still wearing clothes?

Abloh worried that the effect of the panels would be diminished by the presence of the models, who would be holding glow-in-the-dark fibre-optic carryalls and wearing light-up sneakers. He turned to his crew. In an industry of legendary tempers, Abloh is known for his calm. He is a methodical thinker who encounters setbacks with poised silence.

Like West, Abloh knows which artists to link with and when. Goes dark. First six models go down, no activation of the floor whatsoever. Abloh walked backward on the runway, making rhythmic gestures with his hands. I gotta ask Dev to do that. Dev should activate the floor. He sidled over to Hynes. He walked to a stoop outside a storefront on the set, lay down, and curled up in the fetal position, like a vagrant. The LV employees intuitively understood the directive and pointed their iPhones at the stoop. Abloh first encountered the brand as a teen-ager, through hip-hop.

Its monogrammed products—the suitcase, the carryall, the pouch, the wallet—were hallowed accessories for the black and aspirational, who have always had a baroque and kinky relationship to luxury. Abloh recalled seeing, in the early two-thousands, the musician Pharrell Williams carrying an LV wallet called the Wapity.

Lauren did not introduce the world to a new style of clothing—navy blazers, school crests, flannels, saddle shoes, and polo shirts were all Wasp staples long before his time. But he made the uniform attractive to people who had never set foot inside a country club. Like Jebbia, Abloh is a master of the short-run collaboration.

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Bags were displayed in raw packing boxes. To the Keepall 50, an LV classic, Abloh had added a neon-orange ceramic link chain. There was a Seussian whimsy to the Prism Keepall 50, which was made of clear, iridescent PVC and cost three thousand eight hundred and fifty dollars.

People crowded around a dining table that looked, from a distance, as if it were made of mottled wood. On closer inspection, guests could see that it was imprinted all over with the LV monogram. Abloh had designed it, and it cost a hundred and fifty thousand dollars. The next day, a thousand people lined up for the drop outside a Louis Vuitton pop-up store in Tokyo.

In , Abloh launched The Ten, an ongoing collaboration with Nike, for which he is redesigning ten of his favorite Nike sneakers. Nike claimed that the first run sold out in minutes. Abloh is a shopper. Since high school, he has amassed a collection of five thousand T-shirts. Abloh has two phones, which he uses to work on his designs and to WhatsApp with his teams in Milan, London, and Paris. He often illustrates his points by pulling up Instagram images from his peripatetic life.

At one of our meetings, in Chicago, he told me that, on a recent free evening, he had flown to Sweden to see the Texas rock band Khruangbin play for two hours. She works it out. I fly through the night. Abloh lives between Chicago and Paris. He is married to Shannon Abloh, a petite, blond former media specialist who sits in the front row of his shows with their two children, Lowe and Grey. For Abloh, social media is an artistic scrapbook and a way of building hype.

It tells the narrative of the thought process. In , he said, he had posted an image of a paper clip on his feed. In , Arabo was sent to prison for two and a half years for lying to investigators looking into a drug ring. A week later, he posted a video in which the artist and filmmaker Arthur Jafa—who goes by A. Virgil Abloh was born in Rockford, Illinois. His parents, Nee and Eunice, are Ghanaian immigrants who met in Accra in the seventies.

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In Rockford, Nee worked at a paint company and Eunice worked as a seamstress. Eunice taught Abloh how to use a sewing machine, and at a young age he began designing T-shirts. In high school, he was a skateboarder, a soccer player, and a tagger. And then, graffiti, obviously. Nee wanted his son to have a practical job, so Abloh studied civil engineering at the University of Wisconsin-Madison. On Wednesdays, Abloh d. The two are now friends. Koolhaas provided Abloh with a new model of what an architect could be.

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