Introvert Austrian Jules (Werner) and extrovert Frenchy Jim (Serre) meet as young men in 1912 and a lifelong friendship is born. While rocking their bohemian lifestyle and moving through relationships with various women, they meet free spirited Catherine (Moreau) who they both fall for in their own way.
Catherine is impulsive and fun, but also intelligent and charming. Jules loves her but is a misogynistic bastard at heart despite his ideas of himself as progressive (as demonstrated by his speech after the Strindberg play they go to see). Still, he convinces her to marry him for some strange reason, although she seems a bit luke warm towards the whole thing. As WWI breaks out, the two men are drafted on opposite sides with Catherine stuck in Austria by herself.
After the war, the men rekindle their relationship, and Catherine is once again stuck in the middle with both men wanting to marry her. And they do. But while she has a daughter with Jules, she is unable to conceive with Jim which causes a rift. In addition, the fact that Jim has another girlfriend might also contribute to some tension.
Jules et Jim is a very interesting movie for many reasons. It’s pretty much the epitome of French New Wave and Jeanne Moreau’s great international break out role. It’s also filled with very interesting characters. We cannot quite decide if they are all complex and realistic or just inconsistent and difficult to read. Despite the title, the film is really all about Catherine, but without ever revealing her thoughts and feelings.
Because let’s face it: there’s a very strange relationship between Catherine and men. She is always surrounded by them, with no female friends. Nor does she have any friends who aren’t interested in sleeping with her. Yet none of the ones who consider themselves close to her are interested in listening to her. She is ignored whenever she tries to talk about something other than the men or her feelings towards them. Anything else is uninteresting to the men who claim to “love” her.
This is no way excuses her final actions, but perhaps it goes some way towards explaining them. She is a nonconformist forced to conform to wife and mother, and an intellectual forced to only talk about men and relationships. It’s enough to make anyone snap.
Jules et Jim is a technically interesting movie as well: we loved the voice-over; the “erratic” filming; the cuts and “fast-forward” feeling which felt like snapshots from their lives, and the distance this in many ways created; the costumes; and the complex and unusual characters. There’s a reason this is considered a classic. And we’re sure there are a thousand ways to interpret the relationship between the characters. This was just our two cents.
Roland Cassard (Michel) loses his job and randomly decides to give a young girl his dictionary due to her resemblance to his old friend Cécile (Aimée) – even sharing her name. By chance, he then runs into said friend, who now goes by the name Lola. And is a showgirl…
Lola, now a single mother, is very happy to see her old friend, and the two go out to dinner before her show one evening. Roland finds out that despite not having heard from him in seven years, Lola is still hung up on her baby daddy Michel (Harden). While waiting for him to return, the dancer passes the time with American sailor Frankie, who also develops a strange and unhealthy relationship with Lola’s young lookalike Cécile (Duperoux), seeming destined to repeat history.
Roland falls for Lola and decides to make his unrequited love her problem by telling her about his feelings and being childish and mean when she rebuffs him. Because naturally it is her fault that he fell for her and she should feel bad about it.
Lola is an interesting movie – the perspective switches between characters and goes off in all kinds of directions, while still telling the story quite efficiently. Lola is a bit simple, but sweet, and we loved how she was never apologetic about her work or her status as a single parent.
While we’re still unclear how their days worked (does Yvon go to night school? How on earth do they get so much done before school? And did Roland come to work late five times in three days???), Roland acted like a stereotypical “nice guy” with Lola, and we’re very worried about Frankie grooming the young Cécile, we absolutely enjoyed this movie and we can’t wait for what else Jacques Demy has in store for us. Also, we need Lola’s corset. And top hat.
Zazie’s only goal for the weekend is to go on the metro, so she is less than impressed when it is closed due to a strike. On her first morning at her uncle’s place, she sneaks off to explore the city on her own and try to find an open metro, but instead she finds a very creepy stranger (Caprioli) and lots of trouble.
The creepy stranger may or may not be a paedophile, may or may not be a cop, and may or may not also be attracted to Zazie’s aunt and a merry widow they encounter on their adventures. It’s all a bit fuzzy and bewildering.
While we didn’t quite understand what was happening half the time, Zazie dans le Métro was a wild ride from start to finish. The visual comedy of it reminded us a bit of Hulot, and we loved the silliness of it all, although we’re pretty sure we saw a poor lady stabbed at some point. And there’s an attempted rape. And there’s a fairly big chance Zazie is a victim of abuse or a psychopath, judging from her reactions to people and events. Now that we think about it, are we sure this is a comedy..?
Charlie Kohler/Edouard Saroyan (Aznavour) is a piano player in a dive bar, but a former classical concert pianist. When his brother Chico (Rémy) seeks him out to shelter him from a couple of gangsters he’s pissed off, Charlie gets dragged back into the criminal family he’s avoided for years.
Simultaneously, the shy and slightly awkward musician strikes up a relationship with waitress Léna (Dubois), but the gangsters follow them one night and the couple are kidnapped. However, they get on surprisingly well with their kidnappers.
They get out of that fix unharmed, but as the gangsters become more and more determined to use Chico’s family members to track him down, Charlie realises he must flee and leave his girlfriend behind. Lest she ends up like his first wife…
Shoot the Piano Player is very different from our last encounter with Truffaut, The 400 Blows. It’s a bit Noiry, with the flashbacks, the past the main character cannot escape, the general bleakness and the occasional voiceover narration.
It’s often sad, dark and depressing, but there are some fantastic laugh-out-loud moments which help alleviate the whole affair somewhat. We’ve been missing the noirs a bit lately (there were so many of them for a while there!), so we really enjoyed this one. Worth watching for fans of French New Wave, Film Noir, thrillers, dramas, and Truffaut in general.
A woman dumps a faceless body in the middle of the night. The body is found and identified as Christiane Génessier (Scob) by her father, Doctor Génessier. Her face was destroyed in a car accident caused by the doctor and she is presumed to have killed herself.
The body is buried and no one questions its identity, but what is the deal with all the missing girls in the area? The ones who resemble the presumably dead girl? The one with the ruined face and the surgeon father..?
Doctor Génessier is riddled with guilt and hubris, and despite his daughter’s protests he’s trying to repair the damage he’s done, leaving in his wake a trail of faceless bodies. With the help of former patient Louise (Valli), he kidnaps young women, removes their faces, and tries to transplant them onto his own daughter who he keeps locked up in the house like the stray dogs he experiments on.
We love everything about this film! The circusy music, the surgery shown in excruciating detail, the haunting mask and outfits of Christiane which make her look like a doll, and the ending with the gorgeous final shots – there’s nothing here not to love.
Daddy is a giant douche whose pride is more important than the happiness of his daughter, even if he tells himself he’s doing this for her. Also, there’s some seriously shoddy police work going on – we mean, why would they send in Paulette (Altariba) for a consultation with the doctor without keeping an eye on her or instructing her to report back when she was discharged? Amateurs.
Terribly unprofessional police work aside, Eyes Without a Face is a haunting horror movie which should be on everyone’s to-watch list. It’s terrible and beautiful, and it reminds us of a twisted and dark fairytale. Love it!
For such an unlikable man, Michel has a way with the ladies and manages to get some money out of one female friend before moving on to the main object of his desires, American journalism student Patricia (Seberg). He tries to convince her to run away with him while she tries to figure out how she feels about the man she spent a few nights with.
Michel wants to be a tough guy and he models himself on Humphrey Bogart. Patricia is also trying to figure out who she is – perhaps the Bonnie to his Clyde? With the police closing in, they are running out of time and decisions must be made. Who are they really?
Breathless is stylish and artsy, sometimes with a documentary feel to it, while other times it feels more like a romantic comedy or a noir. We love how cool it is, the breaks in the fourth wall, the cuts and close-ups, the opening line and Patricia’s gorgeous stripy clothes (really – she only wears stripes).
Antoine Doinel (Léaud) is a pretty average kid. He lives with his self-centred mother (Maurier) and nice enough, but very strict, stepfather (Rémy) in a small apartment in Paris. He doesn’t do too well in school and occasionally gets in trouble, although his best friend René (Auffay) seems to be the instigator at least some of the time.
After he’s caught skipping school and lying about his mother’s death to cover for it, Antoine runs away from home. It only lasts for a day or so though, but when his teacher later accuses him of plagiarising Balzac, Antoine runs away again. This time for a while, and with more serious consequences.
Antoine is misunderstood and/or ignored throughout the film. None of the adults in his life take the time to listen to him, and his actions are very often misinterpreted and harshly punished, such as his homage to Balzac and his return of the stolen typewriter (which, granted, he did steal earlier).
We loved The 400 Blows. While it’s a fairly tragic tale of a talented but misunderstood young boy who gets into all sorts of (quite serious) trouble, it’s not all bleak. We loved the P.E. sequence with the rapidly diminishing student body, the centrifugal carousel, the shrine to Balzac and the kids watching the puppet show.
Without spoiling it, the ending is also (possibly) optimistic, with Antoine standing at several thresholds and between two chapters of his life. There are four more films made about the same character played by the same (wonderful) actor, and we’re tempted to make a night of it and watch them all. In about ten years when we’re done with everything on the list…
Our second encounter with Monsieur Hulot (Tati) was perhaps even more enjoyable than our first. Mon Oncle introduces us to his extended family: his sister, his brother-in-law, and his adorable nephew. Oh, and their dog, of course. Cannot forget the dog.
Hulot’s brother-in-law Charles Arpel (Zola) and sister Mme. Arpel (Servantie – who doesn’t even have a name in this) live in their ultra-modern and technologically advanced house Villa Arpel, where everything goes wrong on a regular basis. In addition to their fancy house, they have son Gerard (Bécourt) and the aforementioned dog, both of whom like to play with strays.
While the Arpel’s try to keep up appearances to their neighbours, colleagues and anyone who should happen to pass by, Gerard is disenfranchised by it all and loves spending time with his unassuming uncle. However, Charles thinks Hulot is a bad influence, and that he should get a proper job, a proper house, and a proper life. Like he has.
There’s so much in this movie we loved! The opening credits, Mme. Arpel’s plastic house dress, the traffic moving in time with the music, the dogs, the hats (oh, the hats!), the slapstick, the hark back to the silent movie era (especially Modern Times), the trotting secretary, and the garden party populated by the worst kinds of people in the world.
Foreign Legion veteran Julien Tavernier (Ronet) and his lover Florence Carala (Moreau) have a diabolical plan: they will kill Florence’s husband, who just so happens to be Julien’s boss, and make it look like a suicide. The plan is good (you know, in an evil way) and goes smoothly until Julien forgets to get rid of a key piece of evidence.
Florist Véronique (Bertin), who works across the street, and her crook boyfriend Louis (Poujouly) take this opportunity to steal Julien’s car and go on their own spree, which also ends in murder. One in which Julien becomes the main suspect as Louis stole his identity as well as his sweet ride.
We loved everything about this movie. It is visually stunning and fantastically scored with music by Miles Davis. Despite the fact that Julien committed his very own murder, we kept hoping that pretentious douchebag Louis would be arrested to clear Julien of killing the extremely happy German tourist, and the suspense kept us on the edges of our seats.