instal the new version for mac Madame Bovary

She’s an Englishwoman (maybe that’s why her last name is spelled oddly) who has moved with her husband to France in a Peter Mayle-like quest for better food and a more authentic life. Fontaine’s version, based on a satirical graphic novel by Posy Simmonds, is set in the present day, and her Emma - or Gemma, rather - isn’t even French. Filmed in Normandy, where the original story takes place, it’s easily the most authentic-looking “Bovary” since Chabrol. And the film is a realistic period piece: horses, carriages, muddy hems, pigs grunting in the barnyard. Barthes compresses the plot: Emma (played by Mia Wasikowska) goes from convent school through marriage to a dull but well-meaning provincial physician and then on to a pair of heedless love affairs, reckless spending, bankruptcy and arsenic-swallowing in just a year or so. But their movies couldn’t be more different.

On the phone at least, the two directors are virtually indistinguishable: brainy, articulate, dizzyingly fast talkers both in English and in French, dedicated Flaubertians who know his life and work backward and forward. And by coincidence there are two new versions coming this spring, both by young French filmmakers: “Madame Bovary,” directed and co-written by Sophie Barthes, which opens June 12, and “Gemma Bovery” (May 29), directed and co-written by Anne Fontaine. Among the many who have tried are Jean Renoir, Vincente Minnelli, Claude Chabrol and, for that matter, David Lean, whose “Ryan’s Daughter” is a loose knockoff of the Bovary story. Flaubert’s “Madame Bovary,” the original desperate housewife novel, is one of those 19th-century classics that moviemakers keep going back to despite a mounting body of evidence suggesting it might also be one of those books that aren’t really filmmable.

Instal the new version for mac Madame Bovary