Title.........................: Perfume: The Story of a Murderer Year........................: 2006 Runtime...................: 147 mins Votes.......................: 52,255 Rating.....................: 7.5 Language.................: English Country....................: Germany, France, Spain, USA All Genres.................: Drama, Thriller Audio Types..............: Dolby Digital Surround 2.0 Audio Languages.......: English Subtitles...................: English Region.....................: 1
Director....................: Tom Tykwer Writing By.................: Andrew Birkin Bernd Eichinger Tom Tykwer Patrick S skind Produced By..............: Bernd Eichinger Julio Fern ndez Teresa Gefaell Andreas Grosch Samuel Hadida Manuel Cuotemoc Malle Martin Moszkowicz Gigi Oeri Edmon Roch Andreas Schmid Silvia Tollmann Music: Reinhold Heil Johnny Klimek Tom Tykwer
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Based on Patrick Suskind's novel about a serial killer who hunts victims with his superhuman sense of smell, Perfume: Story of a Murderer is a florid, grisly portrayal of this historical drama set in 18th century France. Jean-Baptiste Grunuis (Ben Whishaw) is born under his mother's table at the fish market, onto a pile of muddy fish guts, establishing from the beginning his repulsion for putrid scents. A childhood of neglect and, later, a job at a tannery, encourage Jean-Baptiste to develop his olfactory sense rather than his verbal skills, so that an opportunity to prove his worth to Parisian perfumist, Giuseppe Baldini (Dustin Hoffman), results in his immediate hire into a promising new career. His successes in perfume mixing are negated by a blinding obsession for capturing the sublime beauty of human soul, which in his twisted logic requires the killing of young women to reduce their body fats to essential oils for the ultimate, cannibalized eau de parfum. An omniscient narrator tells the story with much sympathy for Jean-Baptiste's perverted psychology, making it, often, too obvious that his need for love justifies his murderous desire to capture misguided sexual attractions in a vile. Continuous close-ups of Grunius's nose, countered by close-ups of the places and objects he smells, enhance the viewer's understanding of his sensitivity. Repeated comparisons are made between the killer and dogs who aid, then expose his sick experimentation. The settings are fascinating, especially Baldini's perfumery and some later scenes in enflorage factories outside Provence. Whishaw's and Hoffman's performances are both grand. But Perfume unnecessarily spells out Jean-Baptiste's psychosis, squelching any chance for metaphor. This is unfortunate, considering the story's paradoxical nature. As this crude hunter navigates his way through a world of utmost delicacy, one craves ambiguity rather than explanation
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Ben Whishaw as Jean-Baptiste Grenouille Francesc Albiol as Court Official Gonzalo Cunill as Guard 1 Dungeon Roger Salvany as Guard 2 Dungeon Andr s Herrera as Door Guard (as Andres Herrera) Simon Chandler as Mayor of Grasse David Calder as Bishop of Grasse Richard Felix as Chief Magistrate Birgit Minichmayr as Grenouille's Mother Reg Wilson as Customer - Fishmarket
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Based on Patrick Suskind's novel about a serial killer who hunts victims with his superhuman sense of smell, Perfume: Story of a Murderer is a florid, grisly portrayal of this historical drama set in 18th century France. Jean-Baptiste Grunuis (Ben Whishaw) is born under his mother's table at the fish market, onto a pile of muddy fish guts, establishing from the beginning his repulsion for putrid scents. A childhood of neglect and, later, a job at a tannery, encourage Jean-Baptiste to develop his olfactory sense rather than his verbal skills, so that an opportunity to prove his worth to Parisian perfumist, Giuseppe Baldini (Dustin Hoffman), results in his immediate hire into a promising new career. His successes in perfume mixing are negated by a blinding obsession for capturing the sublime beauty of human soul, which in his twisted logic requires the killing of young women to reduce their body fats to essential oils for the ultimate, cannibalized eau de parfum. An omniscient narrator tells the story with much sympathy for Jean-Baptiste's perverted psychology, making it, often, too obvious that his need for love justifies his murderous desire to capture misguided sexual attractions in a vile. Continuous close-ups of Grunius's nose, countered by close-ups of the places and objects he smells, enhance the viewer's understanding of his sensitivity. Repeated comparisons are made between the killer and dogs who aid, then expose his sick experimentation. The settings are fascinating, especially Baldini's perfumery and some later scenes in enflorage factories outside Provence. Whishaw's and Hoffman's performances are both grand. But Perfume unnecessarily spells out Jean-Baptiste's psychosis, squelching any chance for metaphor. This is unfortunate, considering the story's paradoxical nature. As this crude hunter navigates his way through a 
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