Practice Makes Perfect

Philippe de Broca is widely esteemed for the excellence of his unconventional films and those who feel that LE CAVALEUR is in the top rank of the director's large body of work have ample reason to so believe, as a viewing of this wise and witty affair will make plain to most. The essence of this delightful exercise in comedic irony is a perception by renowned concert pianist Edouard Choiseul (Jean Rochefort) that his romantic successes with women will soon end and that he must discover a new and fixed purpose among life's potentialities in order to achieve lasting satisfaction. Frenzy marks Edouard's existence as he blends his amorous forays into a continuous schedule of concerts, recitals, recording sessions and pedagogy, confounding his frustrated wife (Nicole Garcia), mistress (Catherine Alric), and booking agent (Lila Kedrova), among others who wish to share his life. Preponderant among the film's attractions is the droll dialogue of Michel Audiard that de Broca employs as marrow for his scenario of the splendidly photographed effort, shot in beauteous Bretagne and paced by the director in a masterful manner so that a viewer cannot doubt that he is being led to an appropriate conclusion. The talented players are fine throughout with their readings, Garcia gathering the laurels for her nuanced performance as Edouard's tolerant second wife, with other superb turns from cabaret trained Rochefort, the beautiful Alric, ever refined Danielle Darrieux as Edouard's love during The Resistance, Annie Girardot playing his still smitten first wife and Catherine Leprince as the very young and final possessor of his heart, while de Broca skillfully utilizes his extras. Compositions by Beethoven, Bach and Schumann are of great importance within the blithe storyline, and among many others who capably contribute efforts are cinematographer Jean-Paul Schwartz whose camera and lighting expertise is strongly in evidence, Eric Moulard with creative set designing and costumer Catherine Le Terrier whose Nina Ricci styled gowns worn by Darrieux and Girardot are exceptional; editing is flawless for this sophisticated film during which de Broca unapologetically flirts with broad comedy without becoming its prey.

This is an entertaining comedy by an old hand who started as assistant to Henri Decoin in the 50's. I would give you a run-down of the plot, except it is too complicated. It's enough to say that Édouard Choiseul, our aging pianist hero, is juggling concerts, lessons, an ex-wife and present wife, a mistress, an old flame from the war years, her grand-daughter and about 20 other people who figure in his life. It is all held together very well by Jean Rochefort, whose air of weary aplomb is a joy to watch.

I don't think I have ever seen Nicole Garcia looking more beautiful,or more desirable. Imagine how crazy Édouard must be to want to go off to the States with Catherine Leprince. Annie Girardot as the first wife uses her fine comic timing to great effect, and Danielle Darrieux is radiant.

Droll romantic comedy. Edouard is an amiable-but-self-centered concert pianist who is infatuated with women of all ages. He leads a hectic life pursuing young Muriel, while deceiving his wife Marie-France and continuing his concert tours. Ex-wife Lucienne and daughter Pom Pom are knowing onlookers. He then turns to his first love, Madame Taylor, played by the still-beautiful Danielle Darrieux, who, 43 years earlier, was worshipped by the boys, including myself, in a French class in San Diego. Beethoven's 4th Piano Concerto is the suitable theme music.

The best actor(s) can't help it, when, like in this case, the movie doesn't know where it wants to go, or what it actually is about.

Jean Rochefort is the born comedian, and that's some part of this movie. That he is not exactly handsome and good-looking help the movie. He plays a musician, who is adored by the women and adores women. He actually tries to sleep with all and any, and cheats on all and any. Rochefort is able to turn this part into an amusing enterprise, mostly by promising all and everything only to not keep his word(s).

Later he is forced by (seemingly) destiny to become a quite normal family man. He looks after the kids in the respective households.

That's basically all. There is no well-defined start, nor any qurantee.

Le Cavaleur had the potential to be a fine comedy but Philippe de Broca and Michel Audiard went on a far more serious path and the light vaudeville gradually turns into a sad story about the meaning of life: getting old, building something and above all finding joy in the routine of day-to-day life with those who are willing to give you more than you manage to give them.

De Broca and Audiard were past there buoyant prime although Tendre Poulet was perfectly crafted, yet already with ageing characters that were no longer as vivacious and light-hearted as Belmondo in L'Homme de Rio or Cartouche or the Bebel shows of the 70s. Characters have more depth and it's more about tongue in cheek jokes, and in Le Cavaleur more about dead-serious life matters.

The funny thing is that both de Broca and Audiard became famous - and derided by the high-brow types - for their entertaining added-value and were firmly convinced in the 60s that movie-goers are craving for escapism, not to find the same issues they were having in their private lives blown up on the big screen.

Edouard Choiseul (Jean Rochefort) naively thinks he can continuously escape the realities of life, taking women for granted, only to find himself grounded with his family life and the need to accept ageing and eventually growing up beyond that selfish young stud he once was. The movie does a good job of telling this story, unfortunately this is all very disheartening as it starts with high comedic expectations. Quite a sobering exercise.