No #4 in the Antoine series, five films beginning with 400 Blows, Antoine, the dreamer, has got himself a fine young wife, his opposite really, prim and well mannered. Their romantic first year is a series of funny neighbors and comical whimsy. I learned how to die the color of flowers, more interesting than one would think. I learned about hurrying a wife along by throwing her coat and bag down a stairway. I learned that relationships go wrong when one gives in to lust. Hey, I knew that.
Jean-...
The two English sisters are as different as night and day. Yet they wear similar costumes. The young man who loves them does a highly believable job throughout the story. The seaside scenery and the young man's acting carry the movie through. The young man's love for Muriel is almost heartbreaking.
Truffaut is at his strongest with this film. He balances French sensitivity with English fullness of personality quite well. I like this better than most of Truffaut's other movies. The movie does no...
Starting out "Une belle fille comme moi" seems like it might be going somewhere interesting - The study of the criminal female mind. But this film settles quickly into a silly immature comedy ripe with stereotypes and overacting. Alas, if only any of these were actually funny.
François Truffaut's La Nuit Américaine is one of the most remarkable achievements in the "film within the film" genre. The movie stars Truffaut himself (who else could possibly play the role?) as Ferrand, an experienced director who's working on a new feature, "Je vous prèsente Pamela" (I introduce Pamela), and La Nuit Américaine showcases the difficulties of the production: props not working, actors struggling to memorize their lines, crew members leaving the project and scenes that have to be ...
Brilliant for the precise description of a very subtle frame of mind. Adele's ways are not obsession's expressions, not love or ambition. It is only necessity to live, to be, to build a sense without the protective father's shadow.
And Adjani is charming in a great character who engrosses audience's energy. It is a desire's story but not only desire. It is a cruel adventure, mixed madness and ambition, Emma Bovary world's slices, fear and expectation and an absurd fight.
It is a grotesque Don ...
Brilliant for the precise description of a very subtle frame of mind. Adele's ways are not obsession's expressions, not love or ambition. It is only necessity to live, to be, to build a sense without the protective father's shadow.
And Adjani is charming in a great character who engrosses audience's energy. It is a desire's story but not only desire. It is a cruel adventure, mixed madness and ambition, Emma Bovary world's slices, fear and expectation and an absurd fight.
It is a grotesque Don ...
When this film was released,one French critic,Gilles Colpart wrote that TRuffaut did better when he focused on a main character,Antoine Doinel,for instance.At least here,we do not have to stand Jean-Pierre Léaud's mannerism.The people who watch Léaud's movies dubbed in English cannot imagine how lucky they are.Gone is Léaud,gone is Truffaut's sometimes smugness and pretension.Here we find what Truffaut does best:a movie about children played by children (he had brilliantly succeeded in the very ...
Another good film by Truffaut (as with DW Griffith, Leni Riefenstahl) in the sense of a good watch, but why does it seem so gloomy and weighted down--at times even like a horror film.
Is it because Bertrand Morane is a solitary? Or because he draws us into a world (through his low key, partly sympathetic rendering) that is somehow upsetting and/or even detestable? Is it because the view here is hothouse psychological? A kind of Freudian mind drama in which a mother-son dyad subsumes everything...
A true classic. "The Green Room" should be seen by anybody interested in French cinema. Featuring the well known shot of Truffaut standing behind a door, this movie has the director playing a man obsessed with dead people that he once knew. What's most interesting is the low budget feel (the movie looks like it was filmed on 16mm), and the way every scene is subdued (only the memorable music changes pace). The letdown is that there's no real indication of the time setting (late 1920s). An intell...
This is the fifth and last part of Francois Truffauts Antoine Doinel cycle, a biographical movie series about the growing up of a romantic Parisian, played by Jean Pierre Leaud all the time, and all his struggles with love and life which was produced over a period of 20 years.
This last part from 1978 shows us Doinel doing what he's also doing in the previous four parts - falling in love with numerous women, trying to keep up relationships, looking for love, flirting etc. While the first part f...
Le Dernier Metro is the portrait of a woman. An ageing, beautiful, authoritative, successful and famous actress caught in her own personal quagmire, and that of a strange historical era.
It's 1942 and Paris screams under the German occupation. A quiet scream, at least as portrayed by Truffaut, where Parisiens go on living their everyday lives as close to normal as they can. The German element is of course ubiquitous, always lurking in the shadow of normality like an undiagnosed disease. The bla...
In a small village, two houses face one another across the old village street. In one house lives Bernard Coudray, his wife and his young children, while the other house is empty. When new neighbors move into the house Bernard meets Philippe Bauchard and is polite – but later Philippe's wife arrives at the new home and Bernard is shocked to recognise her as Mathilde, a lover from many years ago. Both of them keep this fact from their respective partners and try to keep themselves to themselves ...
People might think i am mad to give 8. But somehow i liked the way the picture has been presented. Complexity in the relationship i think it has been subtly but strongly depicted. another good point is this movie took the suspense tempo so well till the end of (or nearer to the end)the movie. Forget about certain illogical sequences, how this could happen or what, but the most appreciable thing was the suspense was never broken till the last few scenes, the tempo was kept without losing it, roma...
我以影子的忠诚紧随这座城市疯狂的旋转跳动，我只有一个17岁的青春，它显的异常的珍贵；我17岁的青春里却有几万万个理想，它又那么异常的脆弱；我无数的欲望在这座城市的夜晚会加速膨胀，缓慢起飞，疯狂降落，瞬间剧烈的疼痛时常会给我带来异样的快感；有时候我会特别的害怕，我害怕自己突然丢失了17岁的青春直接过渡到45岁的臃肿，我象个无辜的孩子在自己17岁的青春里痛哭流涕，没有任何的理由和借口！
我们的17岁里有太多的未完成，有太多的委屈，有太多的压抑。然而在当时除了看着A片融入角色的手淫外，我们找不到任何发泄的机会，十...
Bergman really was at the top of his game by the late 1960's and this masterful piece is one of his (many) great works.
He has some of his best actors at his disposal: Liv Ullmann, Bibi Andersson and Max von Sydow. They are all superb in this film.
Key themes include "living a lie", the many ways in which love can manifest itself, man's inhumanity to man and our ability to be cruel to animals as well as each other. People who get especially upset at images of cruelty to animals might best keep...
