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My Night at Maud's (1969)
"Ma nuit chez Maud" (original title)

 -  Drama  -  22 March 1970 (USA)
8.0
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Ratings: 8.0/10 from 4,803 users  
Reviews: 32 user | 38 critic

The rigid principles of a devout Catholic man are challenged during a one-night stay with Maud, a divorced woman with an outsize personality.

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Title: My Night at Maud's (1969)

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Nominated for 2 Oscars. Another 9 wins & 2 nominations. See more awards »
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Cast

Complete credited cast:
...
Françoise Fabian ...
Marie-Christine Barrault ...
Antoine Vitez ...
Léonide Kogan ...
Concert Violinist
Guy Léger ...
Preacher
Anne Dubot ...
Blonde Friend
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Storyline

The narrator (Jean-Louis), a devout Catholic, moves to a provincial town and vows to marry Francoise, a pretty blond he notices at mass. Vidal, an old school friend, invites him to visit the recently divorced Maud, and the narrator ends up staying the night, having philosophical discussions in her bedroom. Next morning the narrator engineers a meeting with Francoise. Written by Will Gilbert

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

PG | See all certifications »

Parents Guide:

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Details

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Release Date:

22 March 1970 (USA)  »

Also Known As:

My Night at Maud's  »

Company Credits

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Technical Specs

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

When nominated for the Academy Award for Best Foreign Language Film, it was nominated under the title "My Night with Maud" because at the time it had no US distibutor. See more »

Goofs

When Trintignant accepts to climb into bed with Fabian, he motions for her to pass him the blanket, extending his right hand holding a lit cigarette. The next shot from the side shows him grasping the blanket with a cigarette-free right hand. See more »

Quotes

Jean-Louis: You come here a lot?
Vidal: Almost never. And you?
Jean-Louis: I've never set foot in here before.
Vidal: And yet our paths cross right here. How strange.
Jean-Louis: On the contrary. Our ordinary paths never cross. Therefore, the point of intersection must be outside those ordinary paths. I've dabbling in mathematics in my spare time. It would be fun to calculate our chances of meeting in a two-month period.
Vidal: Can it be done?
Jean-Louis: It's a matter of data and how you handle it. Provided the data exists. Obivously, if I don't know where a ...
See more »

Connections

Followed by Love in the Afternoon (1972) See more »

Frequently Asked Questions

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User Reviews

 
Intellectual meditation of faith
9 May 2011 | by (United Kingdom) – See all my reviews

Jean-Louis (Jean-Louis Trintignant) is a recently converted devout Catholic, who at the beginning of the film, falls in love with a beautiful blonde named Francois (Marie-Christine Barrault) in Church. He follows her, but loses her in traffic. He meets old friend Vidal (Antoine Vitez) by chance in a restaurant and the two talk about their views on philosophy, religion and mathematics. They go to the house of Maud (Francois Fabian), a flirtatious, free-spirited woman who takes an interest in Jean-Louis. When the snow falls heavier outside, Jean-Louis is forced to spend the night at Maud's, putting a strain on his new found beliefs on marriage, commitment and fidelity.

Eric Rohmer's film is full of dialogue. The characters talk and talk, often so intellectually that I had trouble keeping up. But the talk is interesting and intriguing. The main theme (it appeared to me, anyway) is the value of faith in a world where the likelihood of heaven is becoming increasingly unlikely. Jean-Louis, a former ladies man, fights his urges when Maud invites him into her bed. He eventually climbs in, feeling the cold, and begins to kiss her. He eventually pulls away, looking almost angry with himself. He obviously feels that an eternity in heaven, however unlikely the idea is, is worth more than a moment of weakness and happiness.

The dialogue-heavy scenes may not appeal to everyone, it can at times be difficult to engage with the film and bourgeois characters. But it is richly rewarding and a highly intelligent character study. The film has an almost love/hate attitude to the idea of Christianity in a similar way to many of Bergman's greatest films. One of the most intellectually stimulating films of the French New Wave movement.

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