7.5/10
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Le dernier métro (1980)

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In occupied Paris, an actress married to a Jewish theater owner must keep him hidden from the Nazis while doing both of their jobs.

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(scenario), (scenario) | 3 more credits »
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Nominated for 1 Oscar. Another 13 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Bernard Granger
...
...
...
Germaine Fabre
Jean-Louis Richard ...
Daxiat
Maurice Risch ...
Raymond Boursier
Sabine Haudepin ...
Nadine Marsac
...
Lucas Steiner
Christian Baltauss ...
Bernard's Replacement
Pierre Belot ...
Desk Clerk
René Dupré ...
Valentin
Aude Loring
Alain Tasma ...
Marc
Rose Thiéry ...
Jacquot's Mother / Concierge (as Rose Thierry)
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Storyline

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 Yepok

Plot Summary | Add Synopsis

Taglines:

Deneuve, Depardieu, Truffaut See more »

Genres:

Drama | Romance | War

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

19 February 1981 (USA)  »

Also Known As:

El último metro  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

Color:

(Fujicolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Valentin wishes to makes a film entitled 'Angels of Mercy" (a story about nuns). This is similar to _Les Anges du Péché_ (1943) directed by Robert Bresson. See more »

Goofs

In one scene in the cellar, during a conversation between Marion and Lucas, we can see the sound recordist hiding himself in a corner of the cellar. See more »

Quotes

Raymond Boursier: [Yelling at Nadine as she gets out of a Nazi jeep] Not only are you late, you showed up with the Jerries. Jean-Loup will be pissed.
Nadine Marsac: What do you want? I was at a dubbing session. We worked late. They offered me a ride.
Raymond Boursier: Nothing stops you, If they had offered you a part in 'Jew Süss' you'd have taken it.
Nadine Marsac: And how! But they didn't have a role for a French girl.
See more »

Connections

Referenced in François Truffaut: Portraits volés (1993) See more »

Soundtracks

Bei mir Bist du Schön
Music by Sholom Secunda
Lyrics by Saul Chaplin (as Chan Chaplin), Jacob Jacobs, Jacques Larue
(Editions Chappell)
See more »

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User Reviews

 
i really liked this one
10 January 2004 | by See all my reviews

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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