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IMDb > Clair de femme (1979)

Clair de femme (1979) More at IMDbPro »

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Overview

User Rating:
6.5/10   220 votes
MOVIEmeter: ?
Down 2% in popularity this week. See rank & trends on IMDbPro.
Director:
Costa-Gavras
Writers:
Costa-Gavras (writer)
Christopher Frank (writer)
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Contact:
View company contact information for Womanlight on IMDbPro.
Release Date:
29 August 1979 (France) more
Genre:
Drama more
Plot:
Reciprocal consolation. The background of two middle-aged people (Michel and Lydia) is gradually unfolded... more | add synopsis
Awards:
1 win & 3 nominations more
User Comments:
Weary, weary and bad more

Cast

  (Cast overview, first billed only)

Yves Montand ... Michel
Romy Schneider ... Lydia
Romolo Valli ... Galba
Lila Kedrova ... Sonia
Heinz Bennent ... Georges

Roberto Benigni ... Le barman du Clapsy's
Dieter Schidor ... Sven
Catherine Allégret ... La prostituée
François Perrot ... Alain
Daniel Mesguich ... Le commissaire
Gabriel Jabbour ... Sacha
Hans Verner
Jean-Claude Bouillaud
Eliane Borras
Gabriel Dussurget
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Additional Details

Also Known As:
Chiaro di donna (Italy)
Die Liebe einer Frau
Womanlight (USA)
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Runtime:
105 min | Germany:102 min
Language:
French
Color:
Color
Sound Mix:
Mono
Certification:
West Germany:12 (f) (cut version) | West Germany:16 (f) (original rating)

Fun Stuff

Movie Connections:
Featured in From the Journals of Jean Seberg (1995) more

FAQ

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2 out of 9 people found the following comment useful:-
Weary, weary and bad, 26 May 2002
Author: taylor9885 (taylor9885@sympatico.ca) from Ottawa, Canada

This had some promise, given the track records of Costa Gavras (Z) and the writer Christopher Frank (La Derobade, L'Important, c'est d'aimer), but this film is a mess. Romy Schneider, always so good in roles in which she's under a lot of pressure, here just looks haggard and irritable. Yves Montand, who can do these roles in his sleep, here does.

The story is simple: two people who have recently suffered a great deal come together for consolation rather than love. The emotional tone of the picture is so confused, so lacking in human interest that even the feeble attempts at humour are welcome--the animal trainer who gets a monkey and a poodle to dance. A new low in cinematic fake compassion is surely the scene in which Montand attempts to communicate with Schneider's brain-damaged husband by means of gibberish. Lila Kedrova as the man's mother displays some welcome charm here.

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Related Links

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