Adieu Philippine (1962)

Michel is a young technician in the fledgling TV industry and is due for military service in two months at the time of the Algerian War. Juliette and Liliane are inseparable best friends, ... See full summary »

Director:

Jacques Rozier

Writers:

Michèle O'Glor (scenario and dialogue), Jacques Rozier (scenario and dialogue)

Stars:

Jean-Claude Aimini, Daniel Descamps, Stefania Sabatini

Cast

Cast overview, first billed only:
Jean-Claude Aimini	...	Michel
Daniel Descamps	...	Daniel
Stefania Sabatini	...	Juliette
Yveline Céry	...	Liliane
Vittorio Caprioli	...	Pachala
David Tonelli	...	Horatio (as Davide Tonelli)
Annie Markhan	...	Juliette (voice)
André Tarroux	...	Régnier de l'Isle
Christian Longuet	...	Christian
Michel Soyet	...	André
Arlette Gilbert	...	La mère
Maurice Garrel	...	Le père
Jeanne Pérez	...	La voisine
Charles Lavialle	...	Le voisin
Patricia Andrieux

Storyline

Michel is a young technician in the fledgling TV industry and is due for military service in two months at the time of the Algerian War. Juliette and Liliane are inseparable best friends, and aspiring actresses, who hang around outside the TV studio. Michel invites them in to watch, flirts with them both, and dates them separately and together. When Michel goes on a holiday to Corsica, just before he is drafted, the girls follow.

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Genres:

Drama

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Details

Country:

France Italy

Language:

French

Release Date:

25 September 1963 (France)

Also Known As:

Desideri nel sole

Filming Locations:

Champs Elysées, Paris 8, Paris, France

Company Credits

Production Co:

Rome Paris Films, Euro International Film (EIA), Alpha Productions

Technical Specs

Runtime:

106 min

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

1.66 : 1

Did You Know?

Connections

Features A Mistress for the Summer (1960)

User Reviews

The jewel of the french Nouvelle Vague

With A bout de Soufflé (and other Godard films), Adieu Philippine is in fact the only film that deserves the 'Nouvelle Vague' label term and that kept the promises of this generation, of a new way to approach cinema. (Truffaut looks very classical in comparison). A real liberation of the cinema's language : variation of feelings, tones (sentimental comedy, Algerian tragedy, boulevard, etc...) on the screen followed by variations of technique's shooting (television, improvisation, etc...), of montage or setting, a jubilating firework as an hymn to joy of life, imagination. For this and other points, Adieu Philippine has the role in French cinematography that in Italy Otto e mezzo may have played though in another way and much more secretly. Rarely characters have been given such importance, such vibration in every day's little things. The close-up on a young 'stupid' girl's despair dancing face to you is one of the numerous unforgettable moments of this still refreshing poem sometimes worried by the threat of death.