The film is the simple story of a woman having an extramarital affair with another man who has purchased a new mink fur coat that they need to hide from her husband. It plays into this woman in Claire (Virginie Vitry) who is given this fur coat from her lover Claude (Jean-Claude Brialy) as they would hide it to avoid suspicion from her husband Jean (Etienne Loinod). The film also features narration where it play into Claire’s need to be one step ahead of her husband as if they’re playing chess until a mix-up over the coat emerges.
Rivette’s direction is definitely stylish in the way he shoots on location in Paris as it serves as a template for a lot of the films that would be part of the French New Wave. While there are a few wide shots including some scenes inside an apartment, much of Rivette’s direction is intimate in the way he presents this affair but also Claire’s need to hide her affair from her husband as she also gets help from her sister Solange (Anne Doat). Rivette’s usage of medium shots and hand-held camera for scenes in a car add to this energy within the film as well as playing up the suspense right to the film’s ending as it does play like a chess game as it include some rhythmic cuts from editor Denise de Casabianca who employ ideas that would become the jump-cut. Shot in black-and-white by co-writer Charles Bitsch, Rivette would maintain a distinctive look that add to the film’s energetic tone that is supported by Francois Couperin’s playful orchestral score. Overall, Rivette crafts a delightful and exhilarating short film about an adulterous wife’s attempt to hide a fur coat from her husband.
The film’s ensemble cast features cameo appearances from future filmmakers of the New Wave in Claude Chabrol, Francois Truffaut, and Jean-Luc Godard as well as Rivette as party guests at the film’s ending along with a fantastic performance from Anne Doat as Claire’s sister Solange who is always wearing clothes that Claire needs to hide. Etienne Loinod is superb as Claire’s husband who seems to not know anything until later in the film where he starts to act suspicious. Jean-Claude Brialy is excellent as Claude as a smooth and charismatic man who thinks he is clever although he would make a mistake that would get them into some trouble. Virginie Vitry is amazing as Claire as this beautiful woman who feels like her husband doesn’t do enough for her as she loves being with Claude but things get complicated over a mix-up as she ponders if the affair is worth all of the trouble.
Le Coup du berger is a phenomenal film from Jacques Rivette. Featuring a great cast, riveting visuals, and an engaging study of adultery and one-upmanship, it is a short film that isn’t just fun but also serves as a template of sorts of the ideas that would define a new era in cinema that would become the French New Wave. In the end, Le Coup du berger is a sensational film from Jacques Rivette.
Jacques Rivette Films: (Paris Belongs to Us) – (The Nun (1966 film)) – (L’amour fou) – (Out 1) – Celine and Julie Go Boating – (Duelle) – (Noroit) – (Merry-Go Round (1981 film)) – (Le Pont du Nord) – (Love on the Ground) – (Hurlevent) – (Gang of Four (1989 film)) – (La Belle Noiseuse) – (Joan the Maid) – (Up, Down, Fragile) – (Lumiere and Company-“Une aventure de Ninon”) – (Secret Defense) – (Va savoir) – (The Story of Marie and Julien) – (The Duchess of Langeais) – (Around a Small Mountain)
© thevoid99 2022
Written and directed by Eric Rohmer, Le Genou de Claire (Claire’s Knee) is the story of a diplomat who meets a young girl whose stepsister has him falling for her a month before his upcoming wedding. The fifth film in Rohmer’s Six Moral Tales, the film is an exploration of temptation and longing where a man pines for a young woman while observing her relationship with a young man who treats her terribly. Starring Jean-Claude Brialy, Aurora Cornu, Beatrice Romand, and Laurence de Monaghan. Le Genou de Claire is a ravishing film from Eric Rohmer.
Set in Lake Annecy for the month of July, the film revolves around an engaged diplomat who meets an old friend where he later befriends a young girl whose stepsister has caught his eye. It’s a film that plays into a man going on a vacation as he’s about to get married where he is trying to observe those around him as well as raise questions about his upcoming nuptials. Eric Rohmer’s screenplay has a unique structure where the first half of the film is about Jerome Montcharvin (Jean-Claude Brialy) spending his time at Lake Annecy where he meets his old friend in the novelist Aurora (Aurora Cornu) who is surprised by the news of his engagement.
Jerome would meet a young girl named Laura (Beatrice Romand) who lives near Aurora who is also a friend of mother as Laura is learning about love where she would have a crush on Jerome. When Laura’s older step-sister Claire (Laurence de Monaghan) arrives for the film’s second half, Jerome is intrigued by her. Most notably her knees as it would be an obsession while he would turn to Aurora about his fascination towards Claire as well as his disapproval in her relationship with a young man in Gilles (Gerard Falconetti) whom he feels doesn’t treat her well.
Rohmer’s direction is definitely simplistic in its presentation where it is shot largely in Lake Annecy where it is this world between France and the Swiss Alps near Lake Geneva. While there are wide shots of the location including its mountains and nearby town, much of Rohmer’s direction is relied on intimacy and exchanges between the characters. Notably in the first half where it’s about Jerome and Laura where the latter would learn about the ideas of love as she would ask Jerome why he’s getting married. The usage of close-ups and medium shots add to the conversations where Rohmer emphasizes on the latter and some precise compositions for the characters to interact as well as observe some of the action that is happening. Most notably in the film’s second half when Claire is properly introduced where she is seen reading and in her bikini where Jerome asks her where is Aurora and Laura. The relationship between Jerome and Claire doesn’t begin right away until Jerome helps Claire and Gilles get some fruit where he takes notice of her knees.
There is a conflict that Jerome would endure as he would converse with Aurora about pursuing Claire but also deal with the moral implications that include telling her about Gilles. Even as he also thinks about Laura who is already having her own first idea of love with a boy her age as the film’s climax that revolves around Jerome and Claire is an indication of what Jerome knows and what he’s thinking about. It is followed by an aftermath that is shown from Aurora’s perspective of what happened where one character does learn something but another still has lots to learn about love. Overall, Rohmer crafts a riveting yet compelling film about an engaged diplomat’s attraction towards a young woman.
Cinematographers Nestor Almendros, Jean-Claude Riviere, and Philippe Rousselot do amazing work with the film’s cinematography with Almendros leading the charge with its naturalistic photography of many of the film’s locations as well as a few of the scenes set at night. Editors Cecile Decugis and Martine Kalfon do excellent work with the editing as it is largely straightforward with a few jump-cuts for some of the dramatic moments of the film. The sound work of Jean-Pierre Ruh and Michel Laurent do terrific work with the sound as it is largely straightforward with the way it captures many of the sounds on location.
The film’s superb cast include a few notable small roles from Fabrice Luchini as a young man named Vincent that Laura would spend time with during the film’s second half, Michele Montel as Laura’s mother, and Gerard Falconetti as Claire’s selfish boyfriend Gilles. Laurence de Monaghan is fantastic as Claire as a young woman who is in a relationship with a young man who doesn’t treat her well as she is fascinated by Jerome but doesn’t initially find him interesting. Beatrice Romand is excellent as Laura as a teenage girl who would have a crush on Jerome as she is learning about the ideas of love while having many questions about adulthood as it’s a reserved yet mature performance from Romand.
Aurora Cornu is brilliant as Aurora as a novelist friend of Jerome who is the film’s conscience of sorts as a woman whom Jerome turns to as she also observant of everything else around her. Finally, there’s Jean-Claude Brialy in an amazing performance as Jerome Montcharvin as a diplomat set to be married where he deals with the presence of Claire but also Laura’s crush as he turns to Aurora for advice but also reveal a lot about what goes into being in love as he observes Claire’s relationship with Gilles from afar and with disdain towards Gilles in her treatment of Claire.
Le Genou de Claire is a tremendous film from Eric Rohmer. Featuring a great cast, gorgeous locations, beautiful cinematography, and a touching theme of love and longing from afar as well as young love. The film is definitely one of Rohmer’s finest as well as a film that explore the morality of young love. In the end, Le Genou de Claire is a spectacular film from Eric Rohmer.
Eric Rohmer Films: (The Sign of Leo) – The Bakery Girl of Monceau - Suzanne's Career - (Paris vu par-Place de l‘Etoile) – La collectionneuse - My Night at Maud's - Love in the Afternoon (1972 film) - (L’enfance d’une ville) - (The Marquis of O) - (Perceval le Gallois) - (Catherine de Heilbronn) - (The Aviator’s Wife) - (Le Beau Mariage) - Pauline at the Beach - (Full Moon of Paris) - The Green Ray - (Four Adventures of Reinette and Mirabelle) - (Boyfriends and Girlfriends) - (Les Jeux de societe) - (A Tale of Springtime) - (A Tale of Winter) - (L’Arbre, le maire et la mediatheque) - (Le trio en mi bemol) - (Les Rendez-vous de Paris) - (Summer’s Tale) - (Autumn Tale) - (The Lady and the Duke) - (Triple Agent) - (Romance of Astrea and Celadon)
© thevoid99 2019
Directed by Jean-Luc Godard and written by Eric Rohmer, Tous les garcons s’appellent Patrick (All the Boys are Called Patrick) is the story of two roommates who meet a young womanizer who flirts with both of them on separate occasions. It’s a 21-minute short film that plays into the idea of these two young women who meet this young man named Patrick (Jean-Claude Brialy) who is also a pick-up artist. For Charlotte (Anne Collette) and Veronique (Nicole Berger), the two were supposed to meet each other later in the day only for both of them to be wooed by Patrick where things definitely become complicated later that day.
It’s a short film that play into the idea of women being pursued by this young man as well as what it can do to disrupt their friendship. The script by Eric Rohmer doesn’t just play into these two women being wooed by the same guy but also deal with the implications into how it would affect their friendship. Jean-Luc Godard’s direction is definitely stylish in terms of the close-ups and medium shots he creates as well as shoot it on location in Paris. With this approach to cinema verite, Godard adds a realism to the look and feel of the film with the aid of cinematographer Michel Latouche for the film’s black-and-white photography that captures Paris becoming this vibrant hotbed for cinema.
Even as Godard puts in references as it relates to the changes that is emerging while utilizing some stylish jump-cuts with the aid of editor Cecile Decugis. With the sound work of Jacques Maumont to play up the atmosphere of the locations, Godard also uses the music of Ludwig Van Beethoven to play up the looseness of the film. Godard’s approach to the directing the actors is also evident as the performances of Jean-Claude Brialy, Nicole Berger, and Anne Collette are all a joy to watch in terms of not just the naturalistic approach to their performances but also in how real it feels.
Tous les garcons s’appellent Patrick is an excellent short film from Jean-Luc Godard and screenwriter Eric Rohmer. Featuring a great cast and an inventive premise, the short is truly one of the finest examples of what would become the French New Wave in its visual approach and ways to tell stories in a new way. In the end, Tous les garcons s’appellent Patrick is an amazing film by Jean-Luc Godard.
Jean-Luc Godard Films: Charlotte et son Jules - Breathless - The Little Soldier - A Woman is a Woman - My Life to Live - The Carabineers - Contempt - Band of Outsiders - A Married Woman - Alphaville - Pierrot Le Fou - Masculin Feminin - Made in U.S.A. - Two or Three Things I Know About Her - La Chinoise - Weekend - One Plus One (Sympathy for the Devil) - (Joy of Learning) - (British Sounds) - Tout va Bien - (Letter to Jane) - (One A.M.) - (Number Two) - (Here and Elsewhere) - (Every Man for Himself) - (Passion) - (First Name: Carmen) - Hail, Mary - (Soft and Hard) - (Detective) - (King Lear (1987 film)) - (Keep Your Right Up) - (Nouvelle Vague) - (Allemagne 90 neuf zero) - (JLG/JLG - Self-Portrait in December) - For Ever Mozart - (Historie(s) de Cinema) - (In Praise of Love) - (Notre musique) - (Film Socialisme) - (Adieu au Language) - (The Image Book)
© thevoid99 2016
Written and directed by Jean-Luc Godard from an idea by Genevieve Cluny, Un femme est une femme (A Woman is a Woman) is the story of a cabaret dancer who is torn between her unwilling lover and his best friend in her attempts to have a child. The film is take on the American musical comedy genre with an ode to Italian neorealist cinema as it blurs the lines between reality and fantasy. Starring Anna Karina, Jean-Claude Brialy, and Jean-Paul Belmondo. Un femme est une femme is a majestic and witty film from Jean-Luc Godard.
The film revolves around a young cabaret dancer who wants to have a child but her boyfriend is reluctant as she turns to his best friend for advice. While it’s a film with a simple story, it plays into a young woman’s desire to get a new lease on her life as she believes having a child will be the first big step into adulthood. Unfortunately, her lover Emile (Jean-Claude Brialy) isn’t keen on having a child as he wants to spend time doing his work and hanging out with his friend Alfred (Jean-Paul Belmondo). It adds a lot of anguish to Angela (Anna Karina) who escapes through her love of books and musicals as Jean-Luc Godard’s screenplay play up this blur of neorealist ideals with this air of fantasy in scenes where Angela imitates musicals as well as what was happening in French cinema at the time. The script doesn’t have much of a structure as it relies more on Angela’s desire and the journey she would take to have a baby.
Godard’s direction is definitely stylish in terms of not just the sense of energy of the film but also in how he maintains a certain intimacy in some of the film. Most notably in some scenes that involve some anamorphic lenses for some of the camera pans that goes on in the apartment that Angela and Emile live in. Yet, much of the direction involve some unique close-ups and medium shots that subvert ideas of reality and fiction such as a moment where Angela and Alfred imitate certain choreography and movements that are typical of musicals. At the same time, Godard keeps thing simple in his compositions while being playful with some of the set-ups he create in the cabaret halls and streets of Paris where it has this sense of energy that goes on. Even to the point where it would play into the conflict in Angela over what is going through to define herself as a woman. Overall, Godard creates a whimsical yet engaging film about a woman’s desire to become a mother.
Cinematographer Raoul Coutard does brilliant work with the film‘s colorful cinematography with its Cinemascope film stock to capture the lushness of the colors while maintaining some realism in scenes set in the streets of Paris while playing with light for some of its interior scenes. Editor Agnes Guillemot does amazing work with the editing in creating some unique jump-cuts as well as some stylish rhythmic cuts for the musical moments as well as some of its dramatic moments. Production designer Bernard Evein does nice work with the set design from the look of the cabaret hall that Angela works at to the look of the apartment she and Emile live in. The sound work of Guy Villette is terrific with the sound to maintain something that is simple as well as play into the bits of chaos that occurs in the film. The film’s music by Michel Legrand is excellent for its score that is playful with its orchestral pieces along with some piano pieces from Charles Aznavour which plays as a film reference and such.
The film’s wonderful cast includes some notable appearances from Marie Dubois and Nicole Paquin as friends of Angela, Ernest Menzer as a bar owner, and Jeanne Moreau in a cameo as a woman at the bar. Jean-Paul Belmondo is fantastic as Alfred as Emile’s friend who has feelings for Angela but keeps it a secret so he wouldn’t hurt Emile while aware of how bad Emile is towards Angela. Jean-Claude Brialy is superb as Emile as Angela’s boyfriend who is aghast at the prospect of parenthood as he tries to reason with Angela as well as be immature in the way he handles things. Finally, there’s Anna Karina in an incredible performance as Angela as this cabaret dancer that is eager to become an adult as she copes with Emile’s treatment of her as well as the desire to become a mother as it’s one of Karina’s most lively performances.
Une femme est une femme is a remarkable film from Jean-Luc Godard. Featuring great performances from Anna Karina, Jean-Paul Belmondo, and Jean-Claude Brialy as well as colorful visuals and a lively score. The film isn’t just one of Godard’s finest films as well as one of his most entertaining. In the end, Une femme est une femme is a sensational film from Jean-Luc Godard.
Jean-Luc Godard Films: All the Boys are Called Patrick - Charlotte et son Jules - Breathless - The Little Soldier - Vivre Sa Vie - The Carabineers - Contempt - Bande a Part - A Married Woman - Alphaville - Pierrot Le Fou - Masculin Feminin - Made in U.S.A. - Two or Three Things I Know About Her - La Chinoise - Weekend - One Plus One (Sympathy for the Devil) - (Joy of Learning) - (British Sounds) - Tout va Bien - (Letter to Jane) - (One A.M.) - (Number Two) - (Here and Elsewhere) - (Every Man for Himself) - (Passion) - (First Name: Carmen) - Hail, Mary - (Soft and Hard) - (Detective) - (King Lear (1987 film)) - (Keep Your Right Up) - (Nouvelle Vague) - (Allemagne 90 neuf zero) - (JLG/JLG - Self-Portrait in December) - For Ever Mozart - (Historie(s) de Cinema) - (In Praise of Love) - (Notre musique) - (Film Socialisme) - (Adieu au Language) - (The Image Book)
© thevoid99 2015
Based on the novel by Noel Calef, Ascenseur pour l’echafaud (Elevator to the Gallows) is the story of criminal lovers who commit the perfect crime until one of them is stuck inside an elevator. Directed by Louis Malle and screenplay by Malle and Roger Nimier, the film is an exploration into the world of crime from the perspective of two lovers as it is considered one of the early gems of the French New Wave. Starring Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin, Jean Wall, Ivan Petrovich, Felix Marten, and Lino Ventura. Ascenseur pour l’echafaud is a riveting and enjoyable film from Louis Malle.
Set during a 24-hour period on a weekend in Paris, the film revolves around two lovers who commit the perfect crime as everything goes smoothly until the man forgets something where he finds himself stuck in an elevator where the power had gone off. The film isn’t just about the crime as it happens but what happens afterwards where this man is stuck inside the elevator while his lover is waiting around as she suspects that he probably didn’t do it or something else had happened. One of which involves his car being stolen by a young man and his girlfriend who also create trouble as it plays into the idea of lovers committing crime and the chaos that ensues. The film’s screenplay plays into these different storylines where it begins with a phone conversation between Florence Carala (Jeanne Moreau) and her lover Julien Tavernier (Maurice Ronet) about the plan to kill Florence’s husband Simon (Jean Wall) who is also Julien’s boss.
Everything does go well in all of its details as Tavernier was once a member of the foreign legion yet a simple mistake in leaving out a piece of evidence would force him to try and rectify it only for everything to go wrong. Since he is stuck inside the elevator, he is forced to realized that he left his car running prompting Louis (Georges Poujouly) to steal with a flower shop girl named Veronique (Yori Bertin) joining him as they would have their own adventure. Throughout the entirety of the film, Florence waits for Tavernier as she ponders about his whereabouts as she also suspects that he is cheating on her with Veronique as she saw Veronique in his car. The storyline involving Louis and Veronique would have them go on this joyride until they encounter this German couple with a Mercedes as it starts off well and then things go wrong. It leads into this third act into not just about the world of crime but also its impact and implications where four people find themselves in the wrong place and at the wrong time.
Louis Malle’s direction is very mesmerizing for the way he presents the crime as it takes place as there’s no need for any exposition or back-story about Florence and Tavernier as he just starts off with the crime itself. The direction is quite stylish in not just Malle’s approach to camera angles but also in how he maintains an intimacy in the scenes where Tavernier is stuck inside the elevator as he tries to find a way to get out. There is an element of claustrophobia in those scenes while there’s a moment where Tavernier tries to get out of the elevator from its bottom hatch to see how far up he’s in as it is one of the film’s intense moments.
Malle’s usage of close-ups are very effective as it plays into Florence’s own journey as she walks around Paris wondering where is Tavernier as it features some voiceover narration as she expresses her own thoughts. The close-ups and medium shots also play into Louis and Veronique’s own adventure as it is quite comical at times but also very somber as it express their own sense of uncertainty and aimlessness about their future. The film’s third act not only plays into the aftermath of these events but also this race into any chance of hope for any of these characters as it would follow with a really great ending. Overall, Malle creates a very smart and captivating film about a perfect crime gone wrong.
Cinematographer Henri Dacae does brilliant work with the film‘s black-and-white photography to create moods with some of the scenes inside the elevator as well as the building plus creating some unique lighting schemes for the exterior scenes in Paris for day and night. Editor Leonide Azar does amazing work with the editing with its stylish approach to rhythmic cuts and dissolves as it plays into the suspense and drama. Art directors Jean Mandaroux and Rino Mondellini do excellent work with the look of the elevator and its shaft as well as the motel that Louis and Veronique would stay in. The sound work of Raymond Gauguier is terrific as it‘s very sparse while not playing to conventions in terms of some of the suspenseful moments in the film. The film’s music by Miles Davis is fantastic as it’s essentially a jazz-based score with some thrilling trumpet work from Davis as well as some upbeat pieces and some mid-tempo cuts that play into Florence’s own journey.
The film’s cast include small performances from Jean-Claude Brialy as a chess player at the motel, Micheline Bona as a secretary that Tavernier works with, Sylviane Aisenstein as a woman at a bar Florence meets, Jean Wall as Florence’s husband, Ivan Petrovich and Elga Andersen as the German couple Louis and Veronique meet, and Lino Ventura as a police inspector who tries to solve the case that happened in the film’s third act. Yori Bertin is wonderful as Veronique as a young woman who has a crush of sorts on Tavernier as she tries to get Louis to stop doing things while having some fun with the Germans as she copes with the actions later in the film.
Georges Poujouly is excellent as the sullen Louis as a young man trying to cope with his own growing pains as well as his uncertainty in his future as he turns to crime. Maurice Ronet is superb as Julien Tavernier as a former foreign legion soldier who is asked by Florence to kill her husband as he copes with not just the severity of his situation but also in its aftermath. Finally, there’s Jeanne Moreau in a remarkable performance as Florence Carala as this woman who asks her lover to kill her husband as she ponders if he had done the job as she wanders around Paris aimlessly as it’s a very radiant and entrancing performance from the actress.
Ascenseur pour l’echafaud is a phenomenal film from Louis Malle that features a true breakthrough performance from Jeanne Moreau. The film isn’t just one of the finest debut features ever made by a director but also one of the key films of the French New Wave in its approach to style as well as telling a story in the most unconventional fashion. In the end, Ascenseur pour l’echafaud is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - 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) - 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
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
