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L'amour braque (1985)

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After the successful bank robbery Micky hopes to take back his girlfriend Mary who has been taken from him by the brothers Venin. On the way to Paris he meets one Leon, a neurotic and ... See full summary »

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Title: L'amour braque (1985)

L'amour braque (1985) on IMDb 6.1/10

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Cast

Cast overview, first billed only:
...
Mary
Francis Huster ...
Léon
...
Micky
Christiane Jean ...
Aglaé
Jean-Marc Bory ...
Simon Venin
Michel Albertini ...
André - l'amant d'Aglaé et de sa mère
Saïd Amadis ...
Le caïd
Roland Dubillard ...
Le commissaire
Ged Marlon ...
Gilbert Venin
Serge Spira ...
Le baron
Julie Ravix ...
Gisèle
Marie-Christine Adam ...
La mère de Marie
Azeddine Bouayad
Harry Cleven ...
Pluto
Yann Collette
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Storyline

After the successful bank robbery Micky hopes to take back his girlfriend Mary who has been taken from him by the brothers Venin. On the way to Paris he meets one Leon, a neurotic and dreamer, whom he and his associates consider an idiot. Leon can hardly understand what Micky is up to but he follows him everywhere and soon falls in love with Mary. This strange love triangle resolves in a tragic ending. Strange it may seem but the credits tell us that "The film is inspired by Dostoyevsky's "The Idiot" and intended as a homage to the great writer". Written by Yuri German <blsidt1@imf.org>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

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Details

Country:

Language:

Release Date:

27 February 1985 (France)  »

Also Known As:

A Raiva do Amor  »

Filming Locations:


Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Connections

Referenced in Girare L'amour braque (2008) See more »

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User Reviews

 
Eclipse of Reason
12 November 2007 | by (Frankfurt, Germany) – See all my reviews

Indescribable. Zulawskis rendition of Dostojewski steps over the borders. This is surreal theater from it's most outside, most avant-garde, and yes, it's most autonomous perspective. The viewer is entertained, no doubt; and everything he sees is staged for his entertainment; but never is there a doubt that this is a form art that lives beyond the category of entertainment. To prove that such an art is possible, Zulawski makes his actors transform into lifeless figures that recite paradox phrases; and with that, he makes them the vulnerable animals that people really are, behind their masks. If you look at the dark sides, you can also find innocence, but you won't find reason or rationality – only sheer emotion, usually struggling with one's minds rational side, but the latter is entirely lost here. Still, the protagonists find ways to give their lives a philosophical fundament, and they spent the whole of the film arguing about them, thereby feeling pain, enduring humiliation, reaching for freedom. Harshly uncompromising, ever unforgettable.


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