It's as futile to lump 'Amadeus', 'My Brother Vincent', 'Immortal Beloved', and 'Tous les matins du monde' together as it is to indiscriminately group all films about crime or all sci-fi flicks. So with pretentious generalizations on "art films" out of the way, I'd like to point out that 'Tous les matins' masters the art of pacing in a film. The story unravels in a process like the blooming of a flower -- consistent, organic, and fascinating, albeit a shade slow.
Secondly, any renaissance/baroque music fans should see this film merely for its delightful scoring. Though early European music may be an acquired taste, "Tous les matins" presents the viola de gamba in all its expressive glory, foreshadowing works like Bach's well-known cello suites. If the quasi-deep attempts to address the definition of music bother you (as they occasionally bothered me), the complementation of the music and the film's pacing will captivate you nonetheless.
And offhand, fans of Julian Sands (especially in 'Impromptu')will get a kick out of comparing him to Guillaume Depardieu as the young Marin Marais...;)
Secondly, any renaissance/baroque music fans should see this film merely for its delightful scoring. Though early European music may be an acquired taste, "Tous les matins" presents the viola de gamba in all its expressive glory, foreshadowing works like Bach's well-known cello suites. If the quasi-deep attempts to address the definition of music bother you (as they occasionally bothered me), the complementation of the music and the film's pacing will captivate you nonetheless.
And offhand, fans of Julian Sands (especially in 'Impromptu')will get a kick out of comparing him to Guillaume Depardieu as the young Marin Marais...;)