La maman et la putain (1973)

Director:

Jean Eustache

Writer:

Jean Eustache (scenario and dialogue)

Release Date:

6 July 1973 (West Germany)

Genre:

Drama

Plot Keywords:

Voyeur | Sidewalk Cafe | Female Frontal Nudity | Anesthetist | Cafe

Awards:

3 wins & 1 nomination

Cast

Bernadette Lafont	...	Marie
Jean-Pierre Léaud	...	Alexandre
Françoise Lebrun	...	Veronika
Isabelle Weingarten	...	Gilberte
Jacques Renard	...	Alexandre's Friend
Jean-Noël Picq	...	Offenbach's Fan

Also Known As:

The Mother and the Whore (USA)

Runtime:

Argentina:217 min | Japan:217 min | UK:215 min | USA:210 min | France:217 min

Country:

France

Language:

French

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Portugal:17 (cut version) | Argentina:16 | Finland:K-16 | Hong Kong:IIB | Sweden:15 | UK:18

Filming Locations:

Boulevard Saint-Germain, Paris 6, Paris, France

Company:

Elite Films

Trivia:

This film is based on the real-life relationship between director Jean Eustache and actress Francoise Lebrun (who plays Veronika).

Goofs:

Continuity: While reading the book of Gestapo at his friend's home, Alexandre is holding a cigarette in his right hand in the close-up. In the next shot he is only holding the book.

Movie Connections:

Referenced in Les passagers (1999)

Soundtrack:

Falling in Love Again

one of the greatest films ever made

It is not an easy film to watch - it is over three and a half hours long and it is composed entirely of conversations. Yet it is so incredibly compelling and ruthlessly observational of the human character, that it is, in my humble opinion, one of the very greatest films of all time.

The film is depressing, cynical and cruel. (If you want something uplifting, see Jacques Rivette's fantastic Céline and Julie Go Boating, which was made around the same time). It shows the idealism of the late 1960s to be nothing different from the society that it was trying to change.

It involves a supposedly liberated ménage-à-trois between Alexandre (played by Jean-Pierre Leaud), Marie (Bernadette Lafont) and Veronika (Francoise Lebrun). Yet Alexandre is shown to be as chauvinistic and jealous as any other man. The women are exposed as being willingly subservient and defining their femininity through the male gaze.

The film is an extremely icy end to the highly revolutionary French New Wave. This movement was one of the most significant movements in film history and had a profound effect on cinema as we know it. Jean-Pierre Leaud was one of the key actors of the New Wave, having starred (among other films) in the influential Les Quatres Cent Coups (1959) by Francois Truffaut as a rebellious teenager. Director Jean Eustache is not as well known as other directors from the New Wave, but he should be.

There is no improvisation (unlike in John Cassavetes's similar films made in the US) and the dialogue comes from real-life conversations. The film is resonant with Eustache's personal experiences. For example, Francoise Lebrun was a former lover of Eustache. Eustache himself committed suicide in 1981 and the real-life person that the character Marie was based on, did too. The anger and bitterness all culminate in a harrowing monologue by Veronika delivered directly to the audience, breaking down the coldly objective nature of the rest of the film. This mesmerising, personal, and honest filmic statement remains one of the most revealing films of human nature around.