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 »
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 »
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.
Many women are attending Bertrand Morane's burial. They are all the ones that 40 years old engineer loved. Flashback : Bertrand's life and love affairs, told by himself while writing an ... 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 »
Antoine Doinel is now more than thirty. He divorces from Christine. He is a proofreader, and is in love with Sabine, a record seller. Colette, his teenager love, is now a lawyer. She buys ... 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 Lucas talks to Marion about a play he saw in London, he is alluding to Patrick Hamilton's "Gaslight", which was twice made into a movie, by Thorold Dickinson in 1940, and by George Cukor in 1944. See more »
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 »
It takes two to love, as it takes two to hate. And I will keep loving you, in spite of yourself. My heart beats faster when I think of you. Nothing else matters.
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this film is excellent. it's a quiet film where the plot moves slowly, but it doesn't matter. it takes place during the occupation of france of world war II. i don't know how truffaut can do this, he makes films that on paper sound melodramatic and silly, but are feel truly real and sincere without being overly depressing. and this is one of them. i don't know a lot about the german occupation of france during WWII, but its presence is certainly in the film you marion buying an expensive ham under the black market, the blackouts, the talks of hiding in subways and the oppressive and communual presence of the germans. but it's not the focal point of the film. it's about people trying to live normally under stressful situations. their lives are not centered around the war, but around surviving with what they value (their theatre) intact.
it's thoughtful enough to not type-cast its characters based on how they feel about the war and their political positions. a lot of the characters are pragmatic about their situation, such as the director of the play (jean-loup is his name i think) who opposes the germans, but is willing to consider selling the theatre to Daxiat (a powerful pro-german journalist)to save it. all of the crew dislike Daxiat, but treat him with relative respect so that they can keep their theatre running. Daxiat isn't painted as a completely horrible enemy, but was a man who really looked out for the best interests of the theatre company despite the fact that his political views were opposite of those he admired in the theatre company. the people in this film felt real, cuz ideally, we'd all like to think that when faced with oppression from an outside force, we'd be kicking and screaming all the way until we're free of oppression. but in reality, most of us would probably make compromises and do things against our principles to keep what is most important to us (in this case, it's the theatre and its company for the characters here)
in a way, the film reminded me of wong kar wai's in the mood for love in terms of what it does with its characters. it progresses steadily without a lot of major plot points, and it lets you get to know the characters and let them be real, so you never feel bored at how slow things progress. the characters are well written and well acted so that you care deeply about them.
*comments on the ending up ahead*
there is very little that feels staged and over dramatic, and the outcome seems to progress beautifully and quietly. and i don't know what it is about the ending, but i felt strangely uplifted when the credits rolled.
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