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 »
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 »
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 »
Stanislas Previne is a young sociologist, preparing a thesis on criminal women. He meets in prison Camille Bliss to interview her. Camille is accused to have murdered her lover Arthur and ... 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.
Charlie is approached by his crook brother Chico, who is chased by two gangsters. Charlie helps him to escape, but he upsets the criminals, so when his brother Fido is kidnapped, Charlie has to take an attitude with tragic consequences.
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 the house where she lives with her mother and her sister Muriel, for whom she intends Claude. During these holidays, Claude, Ann and Muriel become very close and he gradually falls in love with Muriel. But both families lay down a one-year-long separation without any contact before agreeing to the marriage. So Claude goes back to Paris when he has many love affairs before sending Muriel a break-off letter...Written by
According to a radio interview, actress Kika Markham [Ann], during filming, introduced director François Truffaut to her parents, who both worked in the English theater and cinema worlds and to whom she had remained quite close. Truffaut, whose own parents had neglected him, got along so famously with Markham's parents that he cast her father, David Markham, in the role of a palmist in the brief scene in which he reads the two sisters' fortunes. However, when he tells her, while reading her palm "Ah, but there's great danger here... you should take care of yourself," her father's performance so disturbed Markham that her look of distress in the film was real. She would come to interpret this scene as an omen of her later ill-starred marriage to actor Corin Redgrave. See more »
Off shore electricity pylons are shown, which would not have existed in that period. See more »
I must ask you to stay with our friend, Mr. Flint. That's his house there.
[points to Mr. Flint's house]
I also want to say this: If Anne's prediction comes true, if one day a stronger feeling grows between you and Muriel, and you both deign to recognise it, I'll not be against it, personally. Though, I have my doubts about international messages.
See more »
Originally released at 108 minutes. In 1984 director Francois Truffaut added outtake footage. This re-released Director's Cut is 132 minutes long. See more »
A mildly moving, inoffensive Truffaut movie about a young French bloke (played by Truffaut regular Jean-Pierre Léaud, far more remarkable in movies such as Les Quatrecent Coups) who in turn romances two English (or rather, Welsh!) sisters, set during the first decade of the 20th century. It's a French movie and features a love triangle, so that for a start could have turned it into a potentially unoriginal and cliché-ridden affair. Yet the main problem I had with it wasn't so much the well-treaded theme of the love triangle, as the voice-over which somehow gave the feeling the narrative was rather weak (and I suspect it was). The characters of the two sisters, especially the older sister, were surprisingly better drawn than the male lead's (or maybe it just had something to do with the fact the two actresses playing them were more appealing than the inexpressive, boyish Léaud - I simply could not bring myself to believe that these two girls would both feel so attracted to such a bland young man! He was definitely more engaging as Antoine Doinel!). The movie was also successful at portraying something of the difficulty in relations between the sexes in the Edwardian era - how young men and women really needed to go clandestine if they hoped to even get to know each other decently (not just carnally but also emotionally). The issue of women's sexuality, and how it was virtually denied them in this epoch - the price to be paid for so-called respectability - is also a theme that's successfully conveyed by the movie. How could a woman rightfully claim her own sexual identity in such a day and age? An interesting question worth raising. Fortunately, we were spared any simplistic clichés contrasting "libertine France" vs. "strait-laced Britain" as well.
This is on the whole also a good-looking movie, with lovely sets, costumes and photography. One question: why does everyone in the movie (including the title) keep referring to the two sisters as English when they live in Wales and define themselves as Welsh?
23 of 34 people found this review helpful.
Was this review helpful to you?
| Report this