Julien lives alone with his cat. He dreams of Marie, and a few minutes later, he sees her on the street and makes a date. He asks her to move in with him, and she does. Her boyfriend is ... See full summary »
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A play within a play within a play within a play. Actors perform a play in a house, an audience member invites them to work in his own home improvising a play around his own life. The line between fiction and reality blur.
Elizabeth sends telegrams to her old boyfriend Ben in NYC and to her younger sister Leo in Rome to join her in Paris, where she is selling her dead father's estate. When Ben and Leo arrive, a mysterious adventure begins.
The theatre world is a familiar setting for the films of Rivette. In Va savoir, the characters, all quick-witted, well-read and cultured types, revolve around each other in a delightful potpourri of theatre, romance and theft. In the end, everything lands on its feet and they all get the partner they deserve, but before then, long filmer Rivette takes two and a half hours to dwell lightly on the vicissitudes around the six protagonists. Camille is an actress with an Italian company that is in Paris to perform a play by Pirandello, Come tu mi vuoi. Her boyfriend Ugo is the director and the company's most important actor. Both have a hidden agenda for their trip to Paris: Camille meets her ex Pierre, a professor of philosophy, while Ugo is secretly researching a supposedly lost play by Goldoni. In the archives, he is assisted by the charming student Do, who steals his heart. In turn, Do has a link with Pierre: her stepbrother, the playwright Arthur, namely steals an expensive ring from ...Written by
There are important contradictions between the french and the italian version about the two languages spoken in the movie. The original french version is totally spoken in french, except for the following italian speaking scenes:
just one dialogue between Jeanne Balibar and Sergio Castellitto (who dubbed himself in this version);
all the scenes concerning the italian play which the main characters act in.
In the italian version:
the dialogues involving only french actors are not dubbed and are subtitled in italian;
in the scenes involving Sergio Castellitto and the french cast, all the french actors are dubbed in italian with a french accent;
all the dialogues between Jeanne Balibar (who dubbed herself in this version) and Sergio Castellitto are in italian.
All that it goes with it is that Sergio Castellitto in the original version is clearly fluent in french, while in the italian's he's not able to speak this language, because all the french characters seems to have the courtesy to speak italian with him. See more »
A child and a bicycle in the background disappears between shots in the park. See more »
I never forgot you. Three years, and not one day without thinking of you.
I don't want to know.
We'd like to have you for dinner. It was Sonia's idea. Is it possible?
Maybe Monday, our night off. I'll have to talk to Ugo.
Perfect. Ugo, he's the director?
Yes, he directs the company.
And you live with him?
Yes. Monday at what time?
Eight or nine. Come with Ugo.
See more »
Written by Gino Paoli / Alec Wilder
Sung by Peggy Lee
Performed by Lou Levy (piano)
John Pisano (guitar)
Charles Berghofer (bass)
Stan Levey (drum)
Avec l'autorisation de BMG Music Vision et d'EMI Music France See more »
The only time I felt anything for one of the characters here was near the beginning, when Camille, the lead actor in a Parisian production of a Pirandello play, a French woman speaking in Italian, has trouble remembering her lines (she is pre-occupied by a past love affair which had taken place in that city). The rest of the time I was either mildly amused, or just bored. It is hard to find empathy with a group who seem to be as artificial off the stage as they are on it. There are some nice moments, especially when Ugo fends off temptation from the lovely Dominique, and the duel scene between Ugo and the prat of a philosopher who was once his partner Camille's lover, but the whole thing takes far too long (2 hours 20 minutes), lacks tension and above all calls for minimal involvement on the part of the viewer.
It's rather interesting that Ugo is searching for an unpublished 18th century play. If theatre is to avoid being relegated to museums, producers need either to put on new stuff, or at least to present old material in an innovative way. Ugo seems to regard the past as more important than the future (a pointer, perhaps to the age of the director here).
The atmosphere here reminded me of `Amelie'. Both films have popped up at various film festivals around the world as examples of current French film production. If they are typical, then you might think the French film industry is headed for irrelevancy, but the Marseilles films of Robert Guediguian fortunately suggest otherwise.
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