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Love in the Afternoon (1972)
"L'amour l'après-midi" (original title)

7.8
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Ratings: 7.8/10 from 3,018 users  
Reviews: 22 user | 23 critic

Though he has an adoring wife, a bourgeois man is still tempted to pursue other women.

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Cast

Cast overview, first billed only:
Bernard Verley ...
Frédéric
Zouzou ...
Chloé
Françoise Verley ...
Hélène
Daniel Ceccaldi ...
Gérard
Malvina Penne ...
Fabienne
Elisabeth Ferrier ...
Martine (as Babette Ferrier)
Tina Michelino ...
The Passenger
Jean-Louis Livi ...
The Colleague
Pierre Nunzi ...
The Salesman
Irène Skobline ...
The Saleslady
Frédérique Hender ...
Mme. M.
Claude-Jean Philippe ...
Mr. M.
Silvia Badescu ...
The Female Student
Claude Bertrand ...
The Male Student
Sylvaine Charlet ...
The Landlady
Edit

Storyline

The last of Rohmer's Six Moral Tales. Frederic leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene, a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe, who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma. Written by Will Gilbert

Plot Summary | Add Synopsis

Plot Keywords:

friend | office | nurse | fidelity | boutique | See more »

Genres:

Drama | Romance

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

29 September 1972 (USA)  »

Also Known As:

Chloe in the Afternoon  »

Filming Locations:


Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Connections

Follows The Bakery Girl of Monceau (1963) See more »

Frequently Asked Questions

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User Reviews

Yes, but...

TFO, a French-language network, has been showing the Contes moraux for the last few weeks, and the strengths and weaknesses of Rohmer's approach are easy to see. When he has fine, committed actors like Francoise Fabian and Jean-Louis Trintignant in Ma nuit chez Maud, he can create a flow and vibrancy in the story-telling that make us forget the didacticism of the script (who cares about Jansenism and Blaise Pascal, anyway?).

Where he fails is in not being able to create three-dimensional characters, or not being able to coax a good performance from an actor. The glaring example of this is Brialy in Le genou de Claire who, wearing a thick beard, seems to sleep-walk through his part: his erotic obsession with a girl's lissome kneecap never comes to life. In the film in question today, Bernard Verley has a bland, pudding-like face that hardly provokes any interest in the viewer. How can such a pallid bourgeois be appealing to a bohemian girl like her?

Francoise Verley as the wife has all the best moments; certainly the final scene is more interesting than what went before. She is not a beautiful woman, but her quiet strength and natural acting style are very convincing. Zouzou does not have the underlying restless energy and fierce sexuality you would expect in a girl who drifts from man to man, and her acting skills are minimal. All in all, a good film when concentrating on the family dynamics, but those scenes at the office between Verley and Zouzou are often tiresome.


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