Rappeneau's movie-making demonstrates an unshowy confidence in itself and its subject that is wholly justifiable.
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Washington Post by Desson Thomson
This 138-minute film, comprising two thousand performers and a helluva lot of musketry, has several good scenes, including the well-known one in which Christian utters romantic praise to Roxanne from below her balcony, while de Bergerac feeds him lines. But it can't escape Rostand's structural shortcomings.
Los Angeles Times by Kevin Thomas
Well-nigh flawless, with scarcely a moment's lull. [18 Dec 1990, p.F1]
Entertainment Weekly by Owen Gleiberman
Director Jean-Paul Rappeneau makes the mistake of treating Cyrano de Bergerac as though it were some lost Shakespearean tragedy instead of the wonderfully gimmicky (and familiar) tearjerker it is.
Rolling Stone by Peter Travers
The antique charms of the story can still seduce us when done well, and director Jean-Paul Rappeneau, who freely adapted the play with Jean-Claude Carrière, knows how to fashion a sumptuously beautiful, hugely entertaining spectacle that also stays alert to the cadences of the heart.
Washington Post by Rita Kempley
Cyrano de Bergerac is played full tilt, like Don Quixote against the windmills. An enthusiastic melodrama, it spills emotions like stars across the noble screen.
Chicago Sun-Times by Roger Ebert
A splendid movie not just because it tells its romantic story, and makes it visually delightful, and centers it on Depardieu, but for a better reason: The movie acts as if it believes this story. Depardieu is not a satirist - not here, anyway. He plays Cyrano on the level, for keeps.
The New York Times by Vincent Canby
With its screenplay adapted from Rostand by Mr. Rappeneau and Jean-Claude Carriere, the movie is really memorable, though, only for the Depardieu performance, and for the chance it gives us to hear the original French verse.