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Adieu Philippine (1962)

7.2
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Ratings: 7.2/10 from 378 users  
Reviews: 3 user | 8 critic

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 »

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Cast

Cast overview, first billed only:
Jean-Claude Aimini ...
Michel Lambert
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 ...
Madame Lambert - la mère de Michel
Maurice Garrel ...
Monsieur Lambert - le père
Jeanne Pérez ...
La voisine
Charles Lavialle ...
Le voisin
Patricia Andrieux
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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. Written by Will Gilbert

Plot Summary | Add Synopsis

Plot Keywords:

box office flop | See All (1) »

Genres:

Drama

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Details

Country:

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Language:

Release Date:

25 September 1963 (France)  »

Also Known As:

Desideri nel sole  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Italian censorship visa # 44287 delivered on 11-12-1964. See more »

Connections

Edited into Histoire(s) du cinéma: Seul le cinéma (1997) See more »

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User Reviews

 
The jewel of the french Nouvelle Vague
1 September 2009 | by (Russian Federation) – See all my reviews

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.


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