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Every Man for Himself (1980)
"Sauve qui peut (la vie)" (original title)

7.1
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Ratings: 7.1/10 from 1,628 users  
Reviews: 8 user | 11 critic

An examination of sexual relationships, in which three protagonists interact in different combinations.

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Writers:

(scenario), (scenario)
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Title: Every Man for Himself (1980)

Every Man for Himself (1980) on IMDb 7.1/10

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Cast

Cast overview, first billed only:
...
Isabelle Rivière
Jacques Dutronc ...
Paul Godard
...
Denise Rimbaud
Roland Amstutz ...
Second client
Cécile Tanner ...
Cecile
Anna Baldaccini ...
Isabelle's sister
Roger Jendly ...
2nd Guy
Fred Personne ...
First client
Nicole Jacquet ...
Woman
Dore De Rosa ...
Elevator Attendant
Monique Barscha ...
Chanteur d'opéra
Michel Cassagne ...
Piaget
Paule Muret ...
Paul's ex-wife
Catherine Freiburghaus ...
Farm Girl
Bernard Cazassus ...
1st Guy
Edit

Storyline

An examination of sexual relationships, in which three protagonists interact in different combinations.

Plot Summary | Plot Synopsis

Plot Keywords:

sex | female nudity

Genres:

Drama

Certificate:

See all certifications »
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Details

Language:

Release Date:

15 October 1980 (France)  »

Also Known As:

Every Man for Himself  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?


Soundtracks

Suicidio!
from opera "La Gioconda"
Written by Amilcare Ponchielli
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User Reviews

 
Godard's return
12 February 2004 | by (Canada) – See all my reviews

This was the first feature by Godard after a decade spent experimenting with politics and video. It's as traditional a narrative as we have ever seen from him. The story has three parts. Denise Rimbaud (Baye) represents the imagination; she's a film editor who drops her frustrating work to find some fresh air in the Alps. Paul Godard (Dutronc) is the fearful-dependent side of most of us: he's afraid to leave the city, but can't live without Denise. Then there's business, represented by Isabelle the prostitute (Huppert).

The director, now 50 and with a flagging libido, has a field day with his sexual fantasies. The scene with the two hookers in the businessman's office is wonderfully funny, in its deadpan way it recalls Deux ou trois choses que je sais d'elle. The use of sound is more imaginative; he isn't using the montage of Beethoven quartet snippets that he often relies on. His camera moves more than in the past; there's a great slo-mo of Dutronc jumping over a table to tackle Baye, then they both collapse laughing onto the floor. The sense of freedom suddenly released is exhilarating.


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