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During the same year that Close Encounters of The Third Kind came
in which he played a part in, François Truffaut released The Man Who
Women. The title could easily apply to Truffaut himself. Truffaut loved
women and in all of his films he explores the theme of love and all the
conflicts that can assail when we are in such a state.
In the Man Who Loved Women, Bertrand Morane is the man who loves women and early on in the film Truffaut makes his Hitchcock like cameo. But the character could easily have been played by Truffaut. The film begins with a woman telling us of Bertrand and the many women who loved him. Women who attend his funeral. In fact women who loved him are the only ones at his funeral. Once Bertrand pops up as a living character he narrates his own tale and tells us how he came to write a book entitled "The Man Who Loved Women." It was to resolve all the conflicting emotions he feels for all his loves that he started the book. The "book" is really the film. Bertrand is a man, and yes I may be redundant here, who loves women to the point of obsession. He sees a pair of legs pass him and he follows the legs to a car which he only gets a license plate for. He goes about contacting the driver of the car. In the process he meets another woman and so on and so on. Each woman a tale in his book, each woman he takes very seriously. Every single woman effecting him deeply. Bertrand has many loves but he is not the type of "Romeo" who uses his loves then throws them to the street. It is usually a case of things not working out that leads to a split in his relationships. The women are too strange, such as the case of the women who can only make love in public places or under circumstances of "danger." Or perhaps they feel he does not love them. Or they feel they can not love him in the way he seeks them to.
Bertrand is seldom alone, prompting him to say at one point, while typing his memoir alone in his apartment, "I cherish my moments of isolation." For two hours we follow Bertrand's adventures as he genuinely falls for almost every woman he meets and some that he doesn't, such as the operator who calls him every morning at seven to wake him up. Bertrand is a homely man yet one imbuing a charm and sensitivity that as one woman says, "Feels like it is very important when you ask for something. Like you will almost die if you don't get it." He is hard to resist and so is the funny, charming, deep, introspective, dramatic, sometimes melodramatic, part autobiographical film from Francois Truffaut. I give it a 8 out of 10. It's not as cinematic as some of his earlier films but it certainly is better than the current trends of either domestic or foreign films. Truffaut passed away too soon and it is the cinema's loss in every way.
This movie is just wonderful, a kind of masterpiece as for its construction, its dialogues and the actors' performances. The first image sets the scene very clearly : Bertrand Morane's burial attended only by women. No guys in the funeral procession. Twenty or so lovely middle-aged females are following their (former) lover's last trip. One of them, Brigitte Fossey, Bertrand's last girlfriend, comments, from backstage, on this unusual situation and explains, incidentally, what the film 's gonna be : a flashback to Bertrand's life. How does she happen to know about it ? Thanks to Bertrand's book she has recently edited for him and called "The man who loved women" (passed tense works here as a premonition). The author describes his passion for women and focuses on some of them. Inspired directly from the Bertrand's life (and from the director's life as well), his narrative is informal, genuine, sometimes contradictory but never pedantic nor rude. He remembers his love affairs, his bad and good times, and, most of all, tries to express his feelings to such an extent that is story must be seen as an auto-analysis, the writer's personal attempt to understand his personality rather than a woman chaser's curriculum vitae. Come to that, Charles Denner, the lead, shows us very well that his character's everything short of a sexist and self-confident womanizer. He fell in love once, but this experience turned out to be a real disappointment. Now, he feels as if he were unable to love anymore. So, he's `collecting'. He may have shortcomings, he may have fun picking up beautiful girls wherever and whenever he can, he may not be the kind of faithful and steady guy a good many girls usually like, his behavior might be considered as outrageous by some, the thing is he's a sensitive, affectionate, simple and nice person who knows how to make women happy and comfortable. Each mistress's chosen for a particular reason, a physical standard (behavior, way of walking, voice..) but all share one thing : they have long, smooth and attractive legs. All in all, `The man who loved women' is a mighty good film, worth watching it.
Another terrific character driven movie, François Truffaut creates a story that makes you laugh as well as cry. Charles Denner stars as a fan of the ladies. More than that, he is in great need of woman so much that is ends up to be his doom. The movie begins at the end, with the funeral. Like Hitchcock, François Truffaut makes a cameo at the beginning as his trademark. From there, we begin to see who this man was and why is urge for women caused his death. A very sexy film for 1977, it is still as funny today than it was almost 30 years ago. Unlike American movies, it is very difficult to have a scene with just words and no action. Many scenes in the movie are one shot scenes with nothing but pages of words, words and more words. This is the movie's strong point, besides having several beautiful women. The language (not just French) in the movie is powerful to its audience. It speaks to both men and women.
If this movie had JUST been about the sexual escapades of the main
character, I would have hated it. After all, this is a man whose entire
existence is based on bedding women--and this alone would have made a
boring movie. Instead, it shows the emotional shallowness of this
character and his complete inability to be close to another person--and
its ultimate impact on him. He doesn't see this as a problem, but
during the latter part of the movie, its impact on him becomes
apparent. I particularly liked the unexpected ending. As the movie
begins, it is at his funeral, so you KNOW he will die but HOW is the
real interesting twist.
About the only thing I did not like about the movie was the episodic nature. Sometimes it was a little hard to keep track of all the women. Perhaps this was unintentional, as there were a LOT of women in this man's life! Of course, it did serve to illustrate his problem!!
From it's title to it's ending The Man Who loved women is a great
movie. Francois Truffaut displays all his mastery of the
The editing, performances and dialogues all contribute to the film's subtle but engaging rhythm. The movie revolves around Bertrand Morane, a gifted womanizer who starts evaluating his life by remembering past love affairs.
Bertrand's love life is a comical and insightful story, that combined with Truffaut's brilliant direction and a perfect script make "L'homme qui aimait les femmes" a very entertaining and original movie.
Beautiful french women, great cinematography and Charles Denner's acting. There are no mistakes in this film, very recommended.
In 1976, in Montpellier, the funeral of the engineer Bertrand Morane
(Charles Denner) is attended by several women. The lonely Bertrand
works in a laboratory in a ship model basin and wind tunnel for
aircraft testing and loves books and women, spending his leisure time
seducing women and reading. Along his life, Bertrand makes love to the
most different type of women and decides to write a book telling his
"L'Homme qui Aimait les Femmes" discloses the memoirs of a womanizer. This sensual and funny film is a great tribute to the beautiful French women with lovely French actresses. The romances of Bertrand are provoking and charming and his character shows that a man does not need to be handsome to be seductive and conquer women. Last but not the least, Bertrand is a man that follows the poetry of the French Henri de Régnier (1864-1936): "Love is eternal while it lasts". My vote is seven.
Title (Brazil): "O Homem Que Amava as Mulheres" ("The Man Who Loved the Women")
The first time I saw this movie, I hated it. The narrative structure wasn't
what I was used to, and the movie as a whole seemed distorted and I wasn't
sure what it is going too.
Three years later, haven deepened my culture with books such as "L'amant" de M. Duras, movies such as "Emmanuelle". I started really to appreciate this movie. It is about reality, a man who isn't afraid to scribble down all his memoirs and thoughts. Of cause, at first it seemed very self contradictory, but life is full of contradictions. It is hard to find someone nowadays to have the courage to share all his feelings and thoughts despite all the social values we have been raised with.
A brilliant, brilliant movie, only if you could understand the whole of it.
Far superior than the shoddy and self promoting Burt Reynolds remake. Excellent performances and a classic. Anyone interested in NLP and Speed Seduction should watch this as it is a great reference resource of "Unconscious Competence". The guy knows what he is doing...but doesn't know how he does it. Shame the ending is given away at the start but that only compounds the deep impact the guy had on all of the women. The fact that he is over fifty gives hope for us all. I have no issue with the amount of women involved. If it was the other way around, in these so called 'enlightened' times, when women have so much focus, she would have been applauded as a woman who takes control! Pour a glass of red wine and enjoy.
*** This review may contain spoilers ***
This is another great movie by the late François Truffaut. With this,
the legendary filmmaker attempted an original idea for a movie: a movie
about a man who loves women. Has its flaws, but the overall result is
nice and successful.
Every man who loves women should watch this and enjoy it. I love women myself. You don't have to be like the lead character (Bertrand Morane) to love women. No matter the way you love women, this is a movie for all the men who worship women, both for men who are lucky with women and for men who are unsuccessful with women.
The great actor Charles Denner portrays a very interesting character: Bertrand Morane, the one whom the movie's title is all about. He appears to be between 45/50 years old, works in a laboratory testing the aerodynamics of aircraft, owns an Alfa Romeo Giulia saloon and... loves women. He never resists a lovely pair of legs and yet he seems more interested in watching attractive women than actually having something serious with them. He even goes to extraordinary lengths to locate and lure women he'd seen, even if for nothing...
His peculiar kind of attraction for women turns out to be fatal for him at the end. He goes after two women with nice legs at the wrong place at the wrong time and gets hit by a car. Once in the hospital, he accidentally severs his drip, falls out of his bed and dies and all because he feels attracted by the nurses's legs.
His burial is the most original ever: you see nothing but women and they all show their attractive legs. After all, it's a special funeral. The funeral of a special man.
The final credits are also among the most original and best ever, thanks to all those shots of lovely legs that drive us women lovers crazy.
Considering the fact that this is a movie about a man who loves women, not all the women are attractive, but there are a few who are. Brigitte Fossey is undoubtedly one of the most attractive women in this movie. She was a really adorable child and grew up to be quite an attractive young woman.
Title in Portugal: 'O homem que gostava das mulheres'.
*** This review may contain spoilers ***
This is the eight feature film by Francois Truffaut that I have seen.
He made 25 feature films over a 24 year period from 1959 to 1983.
What I find most interesting about Truffaut's development is how conventional he became. With "Jules and Jim," (1960) he broke every rule of cinema convention. Here, 17 years later, he does a movie that is a model of Hollywood conventionally. It is so conventional that Hollywood soon copies it into an American version starring Burt Reynolds, (a film which also has its merits.) In conventional cinema the audience is meant to identify with a character subjectively. The ability to cut shots so the viewer becomes part of the action, seeing what a character sees and feeling what a character feels, is the essence of conventional Hollywood cinema. Here we are meant to identify solely with "the skirt-chasing" hero. Yet the hero seems to be only a stand-in for Truffaut himself, or at least a vision of Truffaut that he would like the audience to have of him. Because Trauffaut is a master of cinema as his hero Hitchcock was a master of cinema, we, the audience, do identify with the hero.
It is only at the moments when we are looking at the course, rough facial features of Charles Denner, when we see him as being 6 years older than Truffaut and not nearly as handsome that we find it hard to accept him as a man with the power to sweep women off their feet. If Truffaut is the lover Bertrand Morane, Danner is not. However, it is only at moments when we cast ourselves into the roles of the quite beautiful women in the film that this becomes a problem. It is curious that Jean-Pierre Léaud did not play the lead in this film as he personified Truffaut in so many other films.
In any case, even if Danner is not so handsome, we feel the pleasure of the successful seducer. It is a pleasure that even death cannot wipe out. However, because of the conventionality of the film, we do not feel the joy of the new wave.
One day, someone will make a movie about two brothers, one named Francois and the other Jean Luc. The first brother created conventional works of art that were masterpieces of subjective narrative, the other brother took a Brechtian delight in exploding those conventions and making sure that we never identified with a character, but only studied them. I am think, amazingly, although their paths diverged considerably, they may have arrived at the same peak of cinematic art.
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