春が訪れたロッキー山脈のふもとで、新しい季節を謳歌する動物たちの中に、生まれてすぐに母親を失った一匹の子熊の姿があった。やがてエサを獲るこ とも身を守ることも知らない子熊は、森の中で出会った孤独な雄熊を本当の親のように慕い、大自然の摂理を身につけてゆく。しかしいつも猟師たちに狙われて いる雄熊は、夏のある日ついに追いつめられ、二頭の熊たちは離れ離れになる。しかし捕えられた子熊は、年若い猟師トム(チェッキー・カリョ)からミルクを 与えられ、次第に人間に対する恐怖や警戒心を薄めてゆくのだった。そんなある日、トムは武器をもたず水を汲みに入った谷で雄熊とはち合わせしてしまうが、 雄熊は無防備な彼を見逃した。そしてトムは銃を持って追いかけ、至近距離から雄熊に狙いをつけるが、引き金を引くことはできなかった。やがて秋になり山を 降りてゆく猟師たちの後を追う子熊に、トムは野性に戻れと叫ぶのだった。冬になり、暖かい穴の中で冬眠につく雄熊の傍らに、ほんの少したくましくなった子 熊の姿があった。
Source : movie.goo.ne.jp
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Release
The Bear was released on October, 19 1988 in France, and 25 October 1989 in the United States. An official tie-in to the movie, The Odyssey of 'The Bear': The Making of the Film by Jean-Jacques Annaud, a translation from the French edition, followed in November. In addition, Curwood's original novel—out of print in the US for fifty years—was republished by Newmarket Press, and a children's book titled The Bear Storybook was published by St. Martin's Press.
Critical reception
The film was a critical success, holding a 92% "Fresh" rating on the review aggregate website Rotten Tomatoes. Some critics pointed to The Bear's adult handling of the wildlife film genre, which is often dismissed as belonging solely to children's films. While positively reviewing the film, critic Roger Ebert wrote that The Bear "is not a cute fantasy in which bears ride tricycles and play house. It is about life in the wild, and it does an impressive job of seeming to show wild bears in their natural habitat" and that scenes from the film, especially those "of horseplay and genuine struggles – gradually build up our sense of the personalities of these animals".
Janet Maslin of The New York Times, however, believing that the film was less about its wild characters and more about personification, wrote: "The Bear...is a remarkable achievement only on its own terms, which happens to be extremely limited and peculiar...its true emphasis is not on wildlife. Instead, it grafts the thoughts and dreams of more commonplace beings onto bear-shaped stand-ins." Writing for the hunting and fishing magazine Field & Stream, editor Cathleen Erring stated that The Bear not only stripped its human characters of "all sympathetic traits and [gave] them to the bears", but it also created "a caricature that will subject anyone embarking on a bear hunt ... to the kind of scorn previously reserved for 'Bambi Butchers'."[23]
Some reviewers were critical of the film's dream sequences, which heavily utilize special effects and deviate from the overall naturalistic feel of the film. In his review for the St. Petersburg Times, Hal Lipper called the dream sequences "existential flights of fancy are accompanied by psychedelic images that seem better suited for '60s 'happenings.'" In addition, one scene in which the adult bear mates with a female bear while the cub looks on was criticized as being unfriendly for children viewers. David Denby of New York Magazine stated as much in his review of the film, noting "I would like to be able to recommend The Bear as a movie that parents and children could see together, but I'm afraid there's a scene in the middle that would have to be... explained."
Source : Wikipedia
Fabienne Alvarez-Giro, Roberto Garzelli, Éric Mauer
Poster Etats-Unis
