Claude Massoulier is murdered while hunting at the same place than Julien Vercel, an estate agent that knew him and whose fingerprints are found on Massoulier's car. As the police discovers... See full summary »
Pierre Lachenay is a well-known publisher and lecturer, married with Franca and father of Sabine, around 10. He meets an air hostess, Nicole. They start a love affair, which Pierre is hiding, but he cannot stand staying away from her.
Charlie Kohler is a piano player in a bar. The waitress Lena is in love with him. One of Charlie's brother, Chico, a crook, takes refuge in the bar because he is chased by two gangsters, ... See full summary »
At the beginning of the 20th century, Claude Roc, a young middle-class Frenchman meets in Paris Ann Brown, a young Englishwoman. They become friends and Ann invites him to spend holidays at... See full summary »
Some time after "Baisers Volés", Antoine Doinel (Jean-Pierre Léaud) and Christine Darbon (Claude Jade) are married and Antoine works dying flowers, and Christine is pregnant and gives ... See full summary »
Paris, 1942. Lucas Steiner is a Jew and was compelled to leave the country. His wife Marion, an actress, directs the theater for him. She tries to keep the theater alive with a new play, and hires Bernard Granger for the leading role. But Lucas is actually hiding in the basement... A film about art and life. Written by
When Granger talks about his bike being stolen, he mentions the license plate number: 813 HK 45 (in the original version to the least). This number belongs to a system that was introduced in France in 1950 only, which did not even concern bicycles. See more »
Latter, lesser Truffaut but not without its pleasures
Although Truffaut had another two films in him, in many ways The Last Metro looks as if it was planned as his last movie, even down to filming a deleted scene (included on the old Tartan UK DVD) where a dying director tries to convince Catherine Deneuve's heroine to star in his last film. Unfortunately, that doesn't mean it sums up his life and work so much as it feels as if the somewhat half-hearted screenplay has been rushed into production without being entirely thought through. Not that its bad indeed parts of it are quite enjoyable more that it tends to drift by like exactly the kind of 'well-made play' that he once attacked, with the romance barely developed and much of the interest coming from characters on the sidelines, such as Jean-Louis Richard's critic, collaborator and anti-Semitic propagandist. At it's best it comes over like a theatrical variation on Day For Night set against the German occupation (indeed, Richard was DFN's co-writer), without ever quite matching that film's emotional roller-coaster ride.
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