Directed by Louis Malle and written by Malle and Joyce Bunuel, Black Moon is the story of a young woman who takes refuge at the countryside during a war where she finds herself at the home of an eccentric family. The film is an avant-garde exploration into a young woman dealing with a world that is surreal and unlike anything she’s encountered. Starring Cathryn Harrison, Joe Dallesandro, Alexandra Stewart, and Therese Ghiese. Black Moon is a strange yet evocative film from Louis Malle.
Set in a dystopian world where there’s a war between men and women, the film revolves around a young woman who takes refuge in a lavish countryside home where an eccentric family lives there and nothing makes sense. It’s a film that doesn’t have much of a plot nor does it feature much dialogue as it’s about a woman dealing with a world that is surreal and odd yet it serves as this strange escape from the dark reality of war. Yet, the world she would encounter involves an old lady (Therese Ghiese) lying on her bed only speaking coherently on a ham radio next to her while her adult children (Joe Dallesandro and Alexandra Stewart) don’t say a word as they do farming activities. Along with naked children running around chasing animals and the old lady being breast-fed by her daughter. It’s among these things that Lily (Cathryn Harrinson) would deal as she tries to make sense of everything.
Louis Malle’s direction definitely owes a lot to the idea of surrealism where it seems real but it’s also very off. The film begins with Lily driving in her car disguised as a man as she realizes she is in the middle of a war zone where men are killing women in this conflict. For about fifteen minutes, there is no dialogue other than what is heard on the radio. Once Lily is in the forest hiding from both forces as she would encounter the daughter riding a horse and a donkey with a unicorn horn. With the usage of wide and medium shots to capture the landscape along with some unique tracking and dolly shots for a few chase scenes and close-ups to play into Lily’s own reaction to what she sees. There’s some unique moments where Lily sees the sister doing something and then she goes into another room and sees her again as if she was there a second ago. It adds to a world that doesn’t make sense nor does it apologize for it as it adds to what Malle wants to do. Overall, Malle creates an odd yet riveting film about a young woman’s encounter with a surrealistic world.
Cinematogrpaher Sven Nykvist does brilliant work with the film‘s colorful cinematography in capturing the damp yet naturalistic look of the locations in the French countryside as well as in creating some unique lighting for some of the film‘s interior setting. Editor Suzanne Baron does excellent work with the editing with its usage of jump-cuts and other rhythmic cuts to play into the film‘s offbeat tone as well as some of the stranger moments that occur. Production designer Roland Thenot and art director Ghislain Ury do fantastic work with the look of the home that Lily encounters as well as the rooms inside the home such as the bedroom of the old lady with all sorts of things around her.
The sound work of Nara Kollery and Luc Perini is amazing for its usage of sound effects that play into the world of fantasy as well as creating a sense of atmosphere in some of the rooms such as the sounds of clocks ringing that Lily tries to destroy. Music supervisor Diego Masson does wonderful work with the music as the soundtrack largely features some opera and classical music which largely consists of pieces by Richard Wagner.
The film’s superb cast features a wonderful performance from Therese Ghiese as the old lady as she would speak in broken French or a different language while speaking more clearly when she’s talking to a ham radio. Alexandra Stewart and Joe Dallesandro are excellent in their roles as the old lady’s adult children who don’t say anything but rather communicate through touch as they add a sense of eccentricities to their performances. Finally, there’s Cathryn Harrison in a radiant performance as Lily as this young woman who deals with the strange surroundings she is in as she does say a lot to express her frustration and confusion while being very energetic to express the emotions she is carrying.
Black Moon is an odd yet ravishing film from Louis Malle. While it is definitely one of his strangest and inaccessible films of his oeuvre, it is still one of the most fascinating studies of surrealism as well as a young woman’s desire to escape from the harsh realities of a world in conflict. In the end, Black Moon is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby (1978 film) - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2016
Based on the novel Will O’ the Wisp by Pierre Drieu La Rochelle, Le feu follet (The Fire Within) is the story of a recovering yet depressed alcoholic goes on a final journey to meet friends for the last time as he intends to kill himself. Written for the screen and directed by Louis Malle, the film is an exploration into a man’s final days as he tries to find reasons to live. Starring Maurice Ronet, Jeanne Moreau, and Alexandra Stewart. Le feu follet is a riveting yet haunting film from Louis Malle.
The film revolves on the day of the life of a recovering alcoholic who is about to leave a clinic as he leaves for Paris to see if he can find any reason to live as he is succumbing to depression and a need to kill himself. It’s a film that explores a man trying to find answers as he is wondering if he can return to the real world as he’s been spending months at a clinic in Versailles as his leave from the clinic becomes a test to see if he can return to the real world. What happens is that he not only learns that the lives of some of his friends have changed but some of them has disappeared. Some of his friends have changed their lives for the betters while others haven’t as it plays into this man’s growing sense of despair in the course of an entire day. Louis Malle’s screenplay doesn’t really go for any plot schematics other than explore what Alain Leroy (Maurice Ronet) is going through in the course of the day. Even as it features bits of voiceover narration to play into Alain’s state of mind.
Malle’s direction is very engaging for the way he aims to capture something that does feel real in the course of what might be his last day on Earth. Malle aims for something that is in line with the concept of cinema verite as he does shoot largely in locations in Paris and Versailles as there’s some hand-held cameras that shoot in these locations where there’s a lot of medium shots and close-ups. Most notably in the latter as Malle captures all of the anguish and despair in Leroy’s face as it plays into the sense of unknown but also fear as he is unsure about his place in the world. Even as it becomes more evident a dinner party late in the film where he stands out for the wrong reasons which only has him revealing that even though he is a wreck of a man. At least he’s being honest about it and has nothing else to lose. Overall, Malle creates an evocative yet mesmerizing film about a man going into an existential journey on what might be the last day of his life.
Cinematographer Ghislain Cloquet does brilliant work with the film‘s black-and-white photography from the look of the daytime interior/exterior settings to some very enchanting scenes set at night including the dinner party. Editor Suzanne Baron does excellent work with the editing as it is stylish to play into Leroy‘s troubled state of mind as it features some jump-cuts, dissolves, and fade-outs to play into the journey he would take. Production designer Bernard Evein does nice work with the set pieces from the look of the room that Leroy would stay at the clinic as well as the house party he would attend late in the film. Costume designer Gitt Magrini does terrific work with the costumes from the stylish clothes the women wear to the casual look of the men. The sound work of Guy Villette is superb for the sparse sounds at the party as well as the scenes set in Paris. The film’s music consists of pieces by Erik Satie as it is a crucial element to the film that plays into melancholic state of mind that Leroy would endure.
The film’s amazing cast includes appearances from Jean-Paul Moulinot as Leroy’s doctor, Rene Dupuy as a bartender Leroy knew in his apartment, Lena Skerla as a mistress early in the film named Lydia, Bernard Noel as a friend of Leroy in Dubourg who has become a family man, Ursula Kubler as Dubourg’s wife, Jacques Sereys as a rich friend in Cyrille, Alexandra Stewart as a socialite in Solange, Tony Taffin as a snotty and bigoted rich man in Brancion, and Jeanne Moreau in a wonderful performance as an old flame of Leroy who has become a drug addict. Finally, there’s Maurice Ronet in an incredible performance as Alain Leroy as a man who feels lost in his despair as he is unsure about his place in the world as he tries to figure out if he has anything else to offer as he already lost his wife, his family, and everything else as it’s a very entrancing performance from Ronet.
Le feu follet is a remarkable film from Louis Malle that features a tremendous performance from Maurice Ronet. The film isn’t just an intriguing study of depression and despair but also a look into the life of a man who could be spending his last day on Earth. In the end, Le feu follet is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dans le metro - (A Very Private Affair) - (Vive Le Tour) - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Directed by Francois Truffaut and written by Truffaut, Suzanne Schiffman, and Jean-Louis Richard, La nuit americaine (Day for Night) is the story about a filmmaker trying to make a film where a lot of things go wrong. With Truffaut playing the director, it’s a film that chronicles the turbulent world of filmmaking and what goes on during a film production. Also starring Jean-Pierre Leaud, Jacqueline Bissett, Valentina Cortese, Jean-Pierre Aumont, Dani, Nathalie Baye, Jean Champion, and Alexandra Stewart. La nuit americaine is a whimsical and engaging film about the world of filmmaking.
The film is about a filmmaker, his actors, and his crew trying to make a film called Meet Pamela where the director Ferrand learns he only has seven-weeks to shoot the film while his leading English actress has not arrived on set due to her melancholic state. Adding to the chaos is an aging diva who boozes up as she can’t remember her lines while her co-star is a former lover while one of her younger co-stars is dealing with his girlfriend’s infatuation with other crew members. It’s a film that explores a filmmaker trying to make this romantic love-triangle with all of the pressures that goes on as it relates to funding and all sorts of things. All of which is told in a very whimsical manner where Francois Truffaut pokes fun at the world of the studio system but also pays homage to it as the film is also a tribute to cinema itself.
The film’s screenplay has a lot of jokes that relates to cinema where Truffaut even pokes fun at himself as some of the characters he creates are composites of some of his collaborators and actors he worked with. Yet, Truffaut treats them as real people as the aging actor Alexander (Jean-Pierre Aumont) tries to keep things calm and be professional as he often takes trips to the airport. The aging diva Severine (Valentina Cortese) deals with aging as she has a hard time remembering her lines while reflecting on the days when she and Alexander made films in Hollywood. The young actor Alphonse (Jean-Pierre Leaud) is a variation of the many characters that Leaud had played in Truffaut’s films as he’s hung up on his girlfriend Liliane (Dani) who gets hired as a script girl as she is more interested in other men. Then there’s the young English leading lady Julie Baker (Jacqueline Bissett) who has just got married to an older man (David Markham) yet is still reeling from depression.
It all plays to the craziness that goes on as Ferrand and his producer Bertrand (Jean Champion) try to make sure that things don’t go wrong as crew members start to sleep around and do crazy things. It plays into the sense of pressure that goes on as Julie is uninsured in case things go wrong as Ferrand just tries to film while he would have recurring dreams featuring a kid. The script also has a lot of commentaries about film itself and what it means to people as it adds to the sense of reality and fiction blurring.
Truffaut’s direction is quite stylish for not just the way he presents the film-within-a-film in Meet Pamela but also in the realness that he creates when he’s trying to make a film as if there is a bit of a cinema verite feel to it. Much of the direction about Ferrand making the film has a lot of style from wide shots to display a crew shooting where there’s some elaborate crane shots to some close-ups that are on display for the film. The scenes for Meet Pamela is presented as a typical melodrama with a lot of cinematic references to some of films that Truffaut has made in some of the visuals. There is a lot of humor that goes on but it’s very subtle as it doesn’t go too far into whimsy.
There’s also moments where there’s an idea where the fourth wall might be broken as there’s a famous scene where a woman who is shown often in the background as she finally states her opinion about cinema. Even as the film’s American title relates to what filmmakers do to shoot scenes in the day for nighttime scenes as it plays to some of the absurdity of cinema as there’s a famous scene of two crew members watching a game show where the questions relates to films that starred Jeanne Moreau. Overall, Truffaut creates a very exciting and funny film about cinema and a man trying to make something cinematic.
Cinematographer Pierre-William Glenn does excellent work with the film‘s cinematography with its unique approach to lighting as well as displaying some tricks into how some of the film‘s interiors are lit for the film-within-a-film sequences. Editors Martine Barraque and Yann Dedet do fantastic work with the editing as it includes some montages and jump-cuts as it plays to the film‘s humor and some of its melancholia. Production designer Damien LanFranchi does brilliant work with the set pieces as well as the way sets are displayed as well some of the offices and hotel rooms the crew and actors stay in.
Costume designer Monique Dury does wonderful work with the costumes from the stylish clothes that Julie and Severine wear to the some of the costumes the actors wear for the film-within-a-film. The sound work of Rene Levert and Harrik Maury is terrific for its sound from the way sound is created on set to the recording of the characters in the film-within-a-film. The film’s music by Georges Delerue is amazing for its very soaring and upbeat score that plays into the humor along with some somber pieces that includes a cut that he did in Two English Girls.
The film’s superb cast includes some notable appearances from author Graham Greene as an English insurer, Christophe Vesque as the boy in Ferrand’s dream, Xavier Saint-Macary as Alexander’s companion, David Markham as Julie’s much-older husband, Zenaide Rossi as crewmember’s wife who is always on set, Nike Arrighi as the makeup girl Odile, and Bernard Menez as the prop man who is frustrated by some of the film’s troubles. Nathalie Baye is wonderful as Ferrand’s assistant director Joelle who tries to keep things organized while Jean Champion is terrific as the film’s producer who tries to get everything intact while being the one to accompany Julie when she arrives. Dani is terrific as Alphonse’s girlfriend Liliane who enjoys being on set while flirting with other men. Alexandra Stewart is excellent as the secondary actress Stacey who arrives to the set where Ferrand and his crew make a major discovery that would cause more trouble for the production.
Francois Truffaut is amazing in playing Ferrand where he’s sort of playing himself as a filmmaker trying to get the production going while dealing with all of the troubles that happens. Jean-Pierre Aumont is great as the aging actor Alexander who tries to ensure that things go well while being the most professional despite his frequent trips to the airport. Jacqueline Bissett is radiant as the troubled English actress Julie Baker who tries to cope with her depression while doing her job in playing the ingenue. Jean-Pierre Leaud is fantastic as the young actor Alphonse as he deals with his relationship issues while asking numerous questions about women as it relates to his own aloofness. Finally, there’s Valentina Cortese in a remarkable performance as the diva Severine as this woman trying to cope with aging as well as a fading career as Cortese brings a lot of life and exuberance to her performance that hides the sense of insecurities that she carries in her character.
La nuit americaine is an incredible film from Francois Truffaut. Armed with a great cast and many tributes and allusions to the world of cinema, the film is definitely one of Truffaut’s most accessible and compelling films of his career. Particularly as Truffaut makes fun of himself as well as show some realism into the world of filmmaking. In the end, La nuit americaine is a sensational film from Francois Truffaut.
Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door - Confidentially Yours
The Auteur #40: Francois Truffaut (Pt. 1) - (Pt. 2)
© thevoid99 2014
Directed by Francois Ozon and written by Ozon and Emmanuele Bernheim, Sous le Sable (Under the Sand) is the story of a woman who deals with her husband’s sudden disappearance during a holiday as she ponders whether he’s dead or alive while trying to live her life. The film is an exploration into the world of death where a woman tries to come to terms about her husband being dead or the fact that he just chose to leave. Starring Charlotte Rampling, Bruno Cremer, Jacques Nolot, and Alexandra Stewart. Sous le Sable is a harrowing yet exhilarating film from Francois Ozon.
Death can bring a unique reaction to anyone as it is something very hard to cope with. In this film, it’s about a woman who deals with her husband’s disappearance at a beach as she is unsure if he’s dead or alive. Yet, Marie Drillon (Charlotte Rampling) tries to continue her life as if her husband Jean (Bruno Cremer) is still alive. Even as she becomes attracted to another man named Vincent (Jacques Nolot) whom she would later have an affair with. Still, Marie is becoming more confused about her feelings as she questions herself is that is she in denial or is her husband still alive but refuses to believe it. It’s among the many things the film asks as it follows a woman searching for answers that either she already knows or is maybe asking something different.
The screenplay by Francois Ozon and Emmanuele Bernheim doesn’t exactly play to conventions while maintaining this air of ambiguity. Though things start off in a simple, understated manner to showcase Marie’s life with Jean where they seem to be a happy couple. Once Jean suddenly disappears while Marie sunbathes on the beach, Marie’s life crashes down as the first act becomes her trying to find out about her husband. Yet, she abruptly returns to Paris where friends asks about Jean though she decides to move on as if he’s still alive. When Vincent enters the picture, Marie is intrigued by him where they eventually have an affair though Jean still looms in Marie’s mind. The third act is about Marie finally coming to the conclusion about her own feelings as well as facing something where it could be true or not.
Ozon’s direction is very simplistic in its imagery and presentation as it is a straightforward drama. Yet, there are moments where Ozon maintains that air of mystery throughout the film as it plays out some of the events that Marie goes through. Even as she is a woman who is just trying to keep herself and her emotions in check as she is an English professor who teaches at a Parisian university. Still, Ozon does create images that are just startling to watch while keeping this low-key to build things up as well as taking his time to play out the drama. There are also subtle moments of eroticism such as a scene where Marie is fantasizing about both Jean and Vincent fondling her body as she lies down while there’s also a beauty to the sex scene between Marie and Vincent. The film’s climax and ending is definitely ambiguous though it is more about everything Marie has been through and the eventual release about all that she’s encountered. Overall, Ozon creates a very mesmerizing and enriching drama about death and denial.
Cinematographers Jeanne Lapoirie and Antoine Heberle do amazing work with the film‘s very low-key yet hypnotic photography from the colorful scenes at the beach to the use of blue and dark lighting schemes for some of the film‘s interior and exteriors to maintain that air of death. Editor Laurence Bawedin does nice work with the film‘s editing where a lot of it is straightforward to play out the drama while there‘s some usage of jump-cuts to explore the sense of loss that Marie is dealing with. Art director Sandrine Canaux does terrific work with the look of the cabin that Marie and Jean stayed in as well as the Parisian apartment they live in.
Costume designer Pascaline Chavanne is wonderful for some of the clothes the characters wear including the gorgeous red dress that Marie wears. The sound work of Jean-Luc Audy is superb for the sense of atmosphere it creates in some of the scenes at the beach as well as some scenes in Paris to complement the world that Marie lives in. The film’s music by Philippe Rombi is brilliant for its sense of melancholia in its mixture of low-key electronic textures with orchestral-piano arrangements to play out Marie’s sense of confusion.
The film’s ensemble cast is excellent as it features some notable performances from Alexandra Stewart as Marie’s American friend Amanda, Andree` Tainsy as Jean’s mother, Pierre Vernier as Amanda’s husband, and Jacques Nolot as the very charming Vincent who woos Marie. Bruno Cremer is fantastic as Jean as a man who is very kind though is also weary as he would pop up every once in a while to play out the sense of ambiguity. Finally, there’s Charlotte Rampling in a phenomenal performance as Marie Drillon as a woman who is dealing with the idea of loss as it’s really one that is just very understated and also engaging as it stands as one of Rampling’s finest performances.
Sous le Sable is an incredibly touching film from Francois Ozon that features a remarkable Charlotte Rampling. The film is definitely one of Ozon’s finest films in the way he explores death as well as showcasing a woman trying to come to terms with what could be true. It’s also a film that encompasses a woman’s journey into dealing with the inevitable as well as her attempts to try and run away from that truth. In the end, Sous le Sable is an extraordinary film from Francois Ozon.
Francois Ozon Films: See the Sea - Sitcom - Criminal Lovers - Water Drops on Burning Rocks - 8 Women - Swimming Pool - 5x2 - Time to Leave - Angel (2007 film) - Ricky - The Refuge - Potiche - In the House - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #32: Francois Ozon
© thevoid99 2013
Based on William Irish’s novel, La Mariee etait en noir (The Bride Wore Black) is the story of a young woman who was tricked by five men on her wedding day as she swears revenge on these men. Directed by Francois Truffaut and screenplay by Truffaut and Jean-Louis Richard, the film is an exploration into a young woman who feels jilted by these men as she goes on a journey of vengeance. Starring Jeanne Moreau, Charles Denner, Alexandra Stewart, Michel Bouquet, Michael Lonsdale, Claude Rich, and Jean-Claude Brialy. La Mariee etait en noir is a fascinating film from Francois Truffaut.
The film is essentially the story of this woman named Julie Kohler (Jeanne Moreau) who loses her husband David (Serge Rousseau) on their wedding day when he got shot a stray bullet. Distraught over her loss and wanting to know what happened, she learned that five men were involved in the death of her husband as she decides to track them down and kill them. Among these men is an engaged bachelor named Bliss (Claude Rich), a lonely man named Coral (Michel Bouquet), a family man named Morane (Michael Lonsdale), a criminal named Delvaux (Daniel Boulanger), and an artist named Fergus (Charles Denner). Julie would meet them and then find ways to kill them as she later contends with guilt as the truth is revealed into why her husband was killed.
The screenplay by Francois Truffaut and Jean-Louis Richard does have a unique structure in how Julie would plan these meetings with these men as she takes her time to meet them, take them off guard, and kill them when the time is right. At first, she has no sense of moral implication as she is just intent on seeking vengeance for her loss. By the time she meets Morane in the second act where some revelations are revealed about what happened, things eventually get more complicated as she becomes confused. This would lead to a third act where she goes after the remaining two men but there are things that would eventually complicate matters as she still intends to fulfill her desire for vengeance. While there’s a lot of sympathy for what Julie is doing despite her actions. The script also allows the chance for the five men to kind of explain themselves as most of them aren’t really bad people.
Truffaut’s direction is definitely stylized in terms of the compositions and set-ups that he creates. A lot of it is inspired by some of the visual tricks of Alfred Hitchcock from the use of flashbacks to the way the suspense is build up. Truffaut’s framing and the way he has his actors positioned in a frame allows him to create startling moments where Julie would make her move to meet her target and then kill him. By the time she continues her journey, Truffaut would loosen things up a bit with the images to let things be a bit more playful but maintain that air of suspense. Even as things finally intensify in the third act where Truffaut is slowly trying to see how Julie will continue her path of vengeance that would lead to a surprising yet fulfilling climax. Overall, Truffaut crafts a very engaging yet enjoyable thriller about vengeance.
Cinematographer Raoul Coutard does superb work with the cinematography to display the colorful look of the locations as well as the interiors that includes the art studio that Fergus has. Editor Claudine Bouche does excellent work with stylized editing with the use of dissolves and montages to play out some of the film‘s playful moments along with transitional fade-outs to help set the structure. Production designer Pierre Guffroy does nice work with the set pieces that includes the art studio run by Fergus. The sound work of Rene Levert is terrific for the atmosphere that is created in the intimate moments between Julie and her targets. The film’s music by Bernard Herrmann is brilliant for its thrilling score that plays to soaring orchestral arrangements that is true to the spirit of Hitchcock. Even as the soundtrack features pieces by Antonio Vivaldi including a record that Julie likes to play.
The film’s ensemble cast consists of appearances from Serge Rousseau as the ill-fated husband David, Alexandra Stewart as the teacher Miss Becker whom Julie pretends to be, Christophe Bruno as Morane’s son Cookie, and Jean-Claude Brialy as Bliss and Fergus’ friend Corey who would help drive the film’s third act with his own suspicions. In the roles of the five men, Daniel Boulanger is very good as the shady criminal Delvaux. Michael Lonsdale is excellent as the family man Morane while Charles Denner is great as the charming artist Fergus. Claude Rich is cool as the suave ladies man Bliss while Michel Bouquet is terrific as kind Coral. Finally, there’s Jeanne Moreau in an incredible performance as Julie Kohler as she displays an air of radiance in her presence as well as complexity to a woman seeking vengeance only to realize how complicated it becomes.
La Mariee etait en noir is a riveting yet suspenseful from Francois Truffaut that features a brilliant performance from Jeanne Moreau. The film is not just a captivating thriller but also a great tribute to the works of Alfred Hitchcock. It’s also a film that plays with the conventions of suspense as it allows to follow a character that wants justice for what happened. In the end, La Mariee etait en noir is a marvelous film from Francois Truffaut.
Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door - Confidentially Yours
(The Auteurs #40: Francois Truffaut: (Pt. 1) - (Pt. 2))
© thevoid99 2012
