IMDb > The Lovers (1958)
Les amants
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The Lovers (1958) More at IMDbPro »Les amants (original title)


Overview

User Rating:
7.3/10   2,670 votes »
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View company contact information for The Lovers on IMDbPro.
Release Date:
26 October 1959 (USA) See more »
Genre:
Tagline:
THIS WAS HER MOMENT!...and nothing else mattered! See more »
Plot:
Bored with her husband, bored with her polo-playing lover, will the middle-aged heroine go away with... See more » | Add synopsis »
Plot Keywords:
Awards:
2 wins & 1 nomination See more »
User Reviews:
Love from a casual ride. See more (27 total) »

Cast

  (in credits order) (verified as complete)

Jeanne Moreau ... Jeanne Tournier
Jean-Marc Bory ... Bernard Dubois-Lambert
Judith Magre ... Maggy Thiebaut-Leroy
José Luis de Vilallonga ... Raoul Flores (as José Villalonga)
Gaston Modot ... Coudray
Pierre Frag
Michèle Girardon ... La secrétaire
Gib Grossac
Lucienne Hamon ... Chantal
Georgette Lobre ... Marthe
Claude Mansard ... Marcelot (as Claude Mansart)
Alain Cuny ... Henri Tournier
rest of cast listed alphabetically:

Jean-Claude Brialy ... Un garçon a manège (uncredited)
Patricia Maurin ... Catherine, fille de Jeanne (uncredited)

Directed by
Louis Malle 
 
Writing credits
Louise de Vilmorin (dialogue)

Dominique Vivant  novel "Point de Lendemain" (uncredited)

Cinematography by
Henri Decaë (director of photography) (as Henri Decae)
 
Film Editing by
Léonide Azar 
 
Production Design by
Bernard Evein 
 
Set Decoration by
Jacques Saulnier 
 
Makeup Department
Gisèle Jacquin .... makeup artist
 
Production Management
Irénée Leriche .... production manager
Hubert Mérial .... unit manager
 
Second Unit Director or Assistant Director
Alain Cavalier .... assistant director
François Leterrier .... second assistant director
 
Art Department
Charles Merangel .... property master
 
Sound Department
Pierre-André Bertrand .... sound engineer (as Pierre Bertrand)
 
Camera and Electrical Department
André Bouladoux .... key grip
Vincent Rossell .... photographer
André Villard .... camera operator
 
Editorial Department
Madeleine Bibollet .... assistant editor
Kenout Peltier .... assistant editor
 
Music Department
Serge Baudo .... conductor
Johannes Brahms .... composer: theme music
 
Other crew
Francine Corteggiani .... script girl
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Les amants" - France (original title)
See more »
Runtime:
Argentina:90 min | Canada:88 min (Québec)
Country:
Language:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
After screening this film, Nico Jacobellis, manager of the Heights Art Theater in Cleveland Heights, Ohio, was charged with and convicted of possessing and exhibiting an obscene film. He appealed all the way to the US Supreme Court, which overturned the convictions, ruling that the film was not obscene. In a concurring opinion, Justice Potter Stewart made his famous pronouncement concerning what was pornography: "I know it when I see it, and the motion picture involved in this case is not that." Jacobellis v. Ohio, 378 U.S. 184, 197 (1964) (Stewart, J., concurring).See more »
Movie Connections:
Featured in Twisted Sex Vol. 6 (????) (V)See more »
Soundtrack:
Streichsextett No. 1See more »

FAQ

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5 out of 6 people found the following review useful.
Love from a casual ride., 28 February 2010
Author: falquizo from United States

Paris in the 1950s. Film opens with Jeanne & Maggy, two glamorous high society aristocrats, watching a polo game, cheering the star player, the equally glamorous society page poster man Raoul Flores. Later, cozy snuggling between Raoul and Jeanne who, we learn when she goes home, is married to another man -- a prominent newspaper publisher, Henri. Over dinner, we observe quickly that Jeanne and Henri's marriage has been on deep freeze for sometime inside that capacious, ornately furnished countryside mansion. Henri, more or less convinced of Jeanne's affair with Raoul, insisted on having Jeanne invite Maggy and the polo player for the weekend. On her way back from Paris that weekend Jeanne's sports car breaks down. She's given a ride by archaeologist Bernard, definitely proletariat, definitely more comfortable studying rocks from diggings than at the polo field. Henri invites Bernard to stay for the weekend with Raoul and Maggy. At dinner Bernard shown to be an obvious outsider of this group. After everyone goes to bed, Jeanne wanders out into the night in her white, diaphanous nightgown, starting the forty-minute final sequence, the heart of the movie. This is the mildly sensuous moonlit epiphany for Jeanne that true love still can happen. (This sequence was deemed "shockingly erotic" in 1958 when the movie was released, becoming the main reason for calls for censorship, if not outright banning, in many countries). In a long sequence of lyrical black and white, day-for-night shots of shadows in the moonlight, a long walk on a vast field of shrubs and flowers, delicate embraces on a cozy boat floating unaided on a stream, Jeanne falls for Bernard's non-aristocratic, nonhigh-society, proletariat charms. Maybe it is the moonlight, or Bernard's open collar, working-archaeologist shirt, or his 2-cylinder mini-car, or the portentous bat that flew into the room when they were dining, but at the break of dawn, Jeanne decides to leave everything, including her sleeping daughter (another reason which shocked the critics and the Catholic church into condemning this movie) and drive away with Bernard into a new day aborning. (As far as I can remember this is the first movie I know where the central characters, at the fade-out, ride into the sunrise instead of into the sunset. One extra point for the then 25-year old Louis Malle). This movie has acquired its "classic status" for several reasons: It was a notable (and controversial!) work from a young director who was just starting to get noticed (Malle's fifth movie, his second for 1958). It portrayed succinctly the phoniness of the affluent as it showed a portrait of a woman confined within the rituals of her social status and then acting on her sudden feeling to get out. It presented a sex scene considered bold and shocking at that time (Jeanne's orgasm shown only through a close-up of her trembling hand is I think a clever idea from Malle). And it has Jeanne Moreau. (Although for me, anything with Jeanne Moreau is automatically on my personal "classic" list). Even by today's standards I think this is a very well-made movie if only for the subtlety with which Malle presented how these characters show the spectrum of their raw feelings. Moreau is "on every frame" (Malle's words from a 1994 interview) and perfectly so. She shows the build-up in Jeanne's simmering feelings so flawlessly, we actually feel the tension of when it's going to explode. Magre is pure delight as the fully-enjoy-the-moment Maggy. De Villalonga captures perfectly the unctuous charms of someone who's enraptured with his own image, endlessly watching and listening to himself in his own head. Cuny is admirably subtle in showing Henri as someone who has really stopped caring a long time ago, just enjoying watching these people make fools of themselves, eventually to choke on their own flirtations. Note his stiff indifference watching Bernard drive away with Jeanne. In the Moreau performances I've seen, I think this is one of her finest. In her every movie, the main tension is her eyes -- no one really knows what's going on behind that hypnotic stare. Love, passion, hatred, murder, tenderness, bewilderment? We always have to wait for the end of the movie. Some clever prefiguring clues Malle gives us: The bat flying in during their dinner causing a brief consternation -- their fortress has been breached, their aristocracy is not invulnerable anymore. Bernard's mini-car, slow but unstoppable in the highway -- stability, simple and quiet persistence. Bernard freeing the fishes from Henri's traps -- obviously about Jeanne. Excellent, luminous restoration from Criterion of this stunningly photographed black and white film by Henri Decae. Extras include two interviews from Malle and one from Jeanne Moreau. ##

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