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Seven Days... Seven Nights (1960)
"Moderato cantabile" (original title)

 -  Drama  -  25 May 1960 (France)
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Ratings: 6.9/10 from 372 users  
Reviews: 6 user | 4 critic

A wealthy and bored woman (Moreau) is witness of a murder in affection and meets another witness (Belmondo). She asks him about the history of the victim and falls in love with him.



(novel), (adaptation), 1 more credit »
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Title: Seven Days... Seven Nights (1960)

Seven Days... Seven Nights (1960) on IMDb 6.9/10

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Complete credited cast:
Anne Desbarèdes
Pascale de Boysson ...
Bar's owner
Jean Deschamps ...
M. Desbarèdes
Didier Haudepin ...
Colette Régis ...
Miss Giraud
Valeric Dobuzinsky ...
Assassin (as Valéric)


A wealthy and bored woman (Moreau) is witness of a murder in affection and meets another witness (Belmondo). She asks him about the history of the victim and falls in love with him. Written by Stephan Eichenberg <>

Plot Summary | Add Synopsis




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Release Date:

25 May 1960 (France)  »

Also Known As:

Moderato cantabile  »

Filming Locations:

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

2.35 : 1
See  »

Did You Know?


In original release copies the title card read "Moderato contabile", but they were not retired from circulation. See more »


Referenced in A Woman Is a Woman (1961) See more »

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User Reviews

Well, it's not New Wave
26 August 2009 | by (Canada) – See all my reviews

This has to be one of the dullest films of the early Sixties. Remember that Godard, Malle, Truffaut and company had been challenging the traditions of story telling; the world seemed young again, and full of possibilities. Moderato cantabile has nothing of this spirit. It might have been made by an old-guard director like Clément or Delannoy (if they had decided to take a chance on a Duras script).

There isn't much energy or interest in this story: what happens in the first ten minutes is endlessly rehashed throughout the remainder. Belmondo is ill at ease here, or at least seems that way to me--there is no chance for any extroversion, exuberance or even anger from the character. Jeanne Moreau is used decoratively (Brook must have seen what Resnais was able to do with Delphine Seyrig in Last Year In Marienbad) and always looks elegant, if never really desperate or anguished. You know something's wrong when the piano teacher provides much of the dramatic interest: she's bullying the child into giving her a Diabelli sonata "moderately, with a singing feeling".

Note: I have just remembered that Clément did do a Duras script (Barrage contre le Pacifique) in 1958.

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