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L'homme qui aimait les femmes
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The Man Who Loved Women (1977) More at IMDbPro »L'homme qui aimait les femmes (original title)

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Release Date:
27 April 1977 (France) See more »
Bertrand Morane's burial is attended by all the women the forty-year-old engineer loved. We then flash back to Bertrand's life and love affairs... See more » | Add synopsis »
1 win & 4 nominations See more »
User Reviews:
The Trap of Sexual Obsession See more (22 total) »


  (in credits order) (verified as complete)

Charles Denner ... Bertrand Morane

Brigitte Fossey ... Geneviève Bigey
Nelly Borgeaud ... Delphine Grezel
Geneviève Fontanel ... Hélène (as Genevieve Fontanel)

Leslie Caron ... Véra

Nathalie Baye ... Martine Desdoits
Valérie Bonnier ... Fabienne (as Valerie Bonnier)
Jean Dasté ... Docteur Bicard
Sabine Glaser ... Bernadette
Henri Agel ... Lecteur
Chantal Balussou
Nella Barbier ... Liliane, la Karateka
Anne Bataille ... La jeune femme à la robe frangée
Martine Chassaing ... Denise
Ghylaine Dumas ... La seconde employée 'Midi-Car'
Monique Dury ... Monique
Michele Gonsalvez
Sabine Guilleminot

Roger Leenhardt ... Mr. Betany, Directeur des Editions
Christian Lentretien ... L'inspecteur police
Rico Lopez ... Client Restaurant
Marianne Maurin
Beatrice Meyer
Marie-Jeanne Montfajon ... Christine Morane, Bertrand's Mother
Maurice Pecheur
Valérie Pêcheur ... La jeune femme du cimetiere en tenue de tennis (as Valerie Pecheur)
Anna Perrier ... Uta, Babysitter
Michele Planques
Roselyne Puyo ... Nicole
Michel Ricordy
Nadine Rochex (as Nadine Roche)
Isabelle Roumieu
Henry-Jean Servat ... Lecteur
Maïte Simard
Luce Stebenne
Isabelle Temple
Marie-Cecile Truc
Frédérique Jamet ... La petite Juliette (as Frederique Jamet)
Michel Marti ... Young Bertrand
Marion Delbez ... Child
rest of cast listed alphabetically:
Marcel Berbert ... Surgeon, Delphine's husband (uncredited)
Josiane Couëdel ... La standardiste (uncredited)
Pierre Gompertz ... Navy Officer (uncredited)
Michel Laurent ... Navy Officer (uncredited)
Philippe Lièvre ... Bertrand's colleague (uncredited)
Thi-Loan Nguyen ... Chinese woman (uncredited)
Marie Poitevin ... Young Woman (uncredited)
Jean-Louis Povéda ... Printer (uncredited)
Carmen Sardá-Cánovas ... Washer (uncredited)
Suzanne Schiffman ... Woman with the baby by Madame Duteil (uncredited)
Roland Thénot ... Navy Officer (uncredited)

François Truffaut ... Man at Funeral (uncredited)

Directed by
François Truffaut 
Writing credits
(in alphabetical order)
Michel Fermaud 
Suzanne Schiffman 
François Truffaut 

Produced by
Marcel Berbert .... producer (uncredited)
François Truffaut .... producer (uncredited)
Cinematography by
Néstor Almendros  (as Nestor Almendros)
Film Editing by
Martine Barraqué 
Production Design by
Jean-Pierre Kohut-Svelko 
Costume Design by
Monique Dury 
Makeup Department
Thi-Loan Nguyen .... makeup artist (as Thi-Loan N'Guyen)
Production Management
Marcel Berbert .... production manager
Roland Thénot .... assistant production manager (as Roland Thenot)
Second Unit Director or Assistant Director
Alain Maline .... second assistant director
Suzanne Schiffman .... first assistant director
Art Department
Pierre Gompertz .... assistant production designer
Michel Grimaud .... property master
Jean-Louis Povéda .... assistant production designer (as Jean-Louis Poveda)
Sound Department
Jean Fontaine .... sound assistant
Michel Laurent .... sound
Jacques Maumont .... sound mixer
Camera and Electrical Department
Florent Bazin .... assistant camera
Gérard Bougeant .... grip (as Gerard Bougeant)
Charlie Freess .... grip (as Charles Freess)
Jacques Frejabue .... grip
Jean-Claude Gasché .... electrician (as Jean-Claude Gasche)
Anne Khripounoff .... assistant camera (as Anne Trigaux)
Dominique Le Rigoleur .... still photographer
Michel Leclerq .... electrician (as Michel Leclercq)
Jean Lopez .... electrician
Serge Valézy .... electrician (as Serge Valezy)
Costume and Wardrobe Department
Nicole Bancel .... assistant costume designer
Editorial Department
Marie-Aimée Debril .... assistant editor (as Marie-Aimee Debril)
Michel Klochendler .... assistant editor
Michèle Neny .... assistant editor (as Michele Neny)
Music Department
Patrice Mestral .... conductor
François Porcile .... music consultant
Other crew
Josiane Couëdel .... production secretary
Philippe Lièvre .... general manager (as Philippe Lievre)
Lydie Mahias .... assistant general manager
Christine Pellé .... script supervisor (as Christine Pelle)
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"L'homme qui aimait les femmes" - France (original title)
See more »
120 min
Black and White | Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:

Did You Know?

François Truffaut wrote the first draft of this script on the set of Close Encounters of the Third Kind (1977).See more »
Bertrand Morane:Women's legs are like compass points, circling the globeSee more »
Movie Connections:
Referenced in Ça n'arrive qu'à moi (1985)See more »


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3 out of 5 people found the following review useful.
The Trap of Sexual Obsession, 2 August 2011
Author: Ilpo Hirvonen from Finland

Each film by François Truffaut is like an antithesis for its predecessor (Shoot the Piano Player for The 400 Blows, Jules et Jim for Shoot the Piano Player etc.) but The Man Who Loved Women (1977) isn't really the opposite of Small Change (1976) but more like The Story of Adele H. (1975) turned upside down. First of all, the protagonist of The Story of Adele H. is a woman and the protagonist of The Man Who Loved Women is a man. However, despite the tragical intensity of The Story of Adele H. and the light comedy of The Man Who Loved Women both films deal with sexual obsessions. In the former film, the woman is madly in love with a man from whom she can't get response. In turn, the latter is all about a man who doesn't believe in true love and therefore goes from one brief relationship to another.

The Man Who Loved Women (1977) might just be Truffaut's funniest comedy but, what is more, it also presents an insightful picture of an obsessive womanizer Bertrand, brilliantly played by Charles Denner. Just like The Story of Adele H., it is also a story about an independent character who is a victim of his own obsession. In addition, in the background of both stories there is an abandonment (made by a mother or a lover), both protagonists try to imitate their parents in one way or another and are inevitably going to face destruction, both stories are also recorded to personal memoirs and both of them have separate prologue and epilogue sequences.

Already in the very beginning of The Man Who Loved Women we are told that the protagonist has died and at the cemetery we enter a long flashback which equals most of the film. However, before we enter this flashback we see women walking to the cemetery but also Truffaut himself passing by, which is a clear statement that the film knows that it is fiction. As if he was sealing the deal. It is consciously exaggerated romanticism, so to speak. This idea is also highlighted by the fact that the protagonist starts to change his memories when he decides to write an autobiographical novel. His whole life is fiction.

Usually, Truffaut portraits fatal women who lead their lovers to death and destruction (Jules and Jim, The Bride Wore Black) but in this case the man is the dangerous character who lures women. However, in reality he is much more destructive for himself than for the women he loves. His obsession seems to be some sort of a defense mechanism against the vulnerability which hunts many of Truffaut's characters who are often abandoned by a cold mother (The 400 Blows).

As said, Bertrand is a victim of his own obsession and just like the dogmatism of Catherine, from Jules et Jim, so is the obsession of Bertrand an absolute prelude for death. He is constantly tied to his own madness. He loves to watch women and even points out that "women's legs are like compass points, circling the globe." Although, this rather plain concept gets an intriguing twist because Bertrand actually sees the seductive legs of women everywhere -- even where there aren't any; like in the outrageous scene at the airport -- and they also seal his destiny.

Besides youth and innocence, love was a repeating theme throughout Truffaut's career and that is why he is often called the romantic of the French New Wave. In his world, love was a dominant force which restricted the lives of people. But it also appears to us as kind and patient. The Man Who Loved Women was Truffaut's tribute, not only to women, but to love. In the director's personal love life, he had several lovers but no life partners. Although, Truffaut wasn't a womanizer by any means he said that he never stopped loving his former lovers. As if relationships were transient but love was eternal.

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