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Six in Paris (1965)
"Paris vu par..." (original title)

 |  Comedy, Drama  |  19 May 1965 (France)
6.9
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Ratings: 6.9/10 from 733 users  
Reviews: 3 user | 15 critic

Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are ... See full summary »

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(segment), (segment), 5 more credits »
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Edit

Cast

Credited cast:
Jean-Pierre Andréani ...
Raymond (segment "Saint-Germain-des-Prés")
...
The mother (segment "La Muette")
Nadine Ballot ...
Odile (segment "Gare du Nord")
...
The father (segment "La Muette")
Jean-François Chappey ...
Jean (segment "Saint-Germain-des-Prés")
Gilles Chusseau ...
Boy (segment "La Muette")
Serge Davri ...
Ivan (segment "Montparnasse-Levallois")
Micheline Dax ...
Prostitute (segment "Rue Saint-Denis")
Marcel Gallon ...
Victim (segment "Place de l'Etoile")
Philippe Hiquilly ...
Roger (segment "Montparnasse-Levallois")
Claude Melki ...
Leon (segment "Rue Saint-Denis")
Gilles Quéant ...
Stranger (segment "Gare du Nord")
Jean-Michel Rouzière ...
Jean-Marc (segment "Place de l'Etoile")
Dany Saril ...
The maid (segment "La Muette")
...
Jean-Pierre (segment "Gare du Nord")
Edit

Storyline

Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d'Etoile (Rhomer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs. Written by C. McMullen

Plot Summary | Plot Synopsis

Genres:

Comedy | Drama

Certificate:

See all certifications »
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Details

Country:

Language:

Release Date:

19 May 1965 (France)  »

Also Known As:

París visto por...  »

Filming Locations:


Box Office

Opening Weekend:

$4,053 (USA) (3 October 2008)

Gross:

$13,949 (USA) (7 November 2008)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Jean-Luc Godard's segment "Montparnasse et Levallois" originated from the news story that Alfred Lubitsch (Jean-Paul Belmondo) told Angela (Anna Karina) in a restaurant in A Woman Is a Woman (1961). See more »

Connections

Referenced in Life Itself (2014) See more »

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User Reviews

Good short New-Wave films, very poetic and meaningful
17 December 2000 | by (Los Angeles, CA) – See all my reviews

Except for the idiotic Godard segment which just plain sucks, all the other directors did a hell of a job shooting these 16mm short films. In the best tradition of the French New-Wave, most of the films come as close to documentary as possible. The American girl (Barbara Wilkins) in Jean Douchet's little film about American girls who get taken for a ride by French playboys, is just wonderful in her role and perfectly portrays many nuances that have never been captured on film. Douchet was a critic at Cahiers du Cinema who wrote one of the greatest analyses of Hitchcock ever. Documentary master Jean Rouch, one of the godfathers of the New Wave is represented next in a spectacularly authentic and resonant segment that's one long continuous take for about 15 minutes straight, following its protagonist (another wonderfully authentic young girl, this time French) from the breakfast table argument with her boyfriend (producer/director Barbet Schroeder in an early role) into the street where she meets a mysterious man who wants her to go away with him. A wonderfully hilarious 10 minute segment by Jean Daniel Pollet features Michelline Dax playing the experienced Parisian prostitute to perfection as she affectionately makes fun of her inexperienced john who looks like a French version of Buster Keaton. Rohmer's piece is about a salesman/former runner who gets into an altercation with a drunk man on the street and thinks he might have accidentally killed him; it is very different from anything else Rohmer has ever done and, needless to say, quietly masterful. In Chabrol's interesting and typically Hitchcockish 'horror-under-the-prim-bourgeois-surface' expose piece Chabrol himself acts as the 'bourgeois' father and his then-wife Stephane Audran as the mother of a mischievous boy who starts putting ear-plugs in his ears to keep from hearing their constant arguments. Overall, there's a lot of decent stuff here for attentive viewers and French New Wave fans.


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