Claude Massoulier is murdered while hunting at the same place than Julien Vercel, an estate agent that knew him and whose fingerprints are found on Massoulier's car. As the police discovers... See full summary »
At the beginning of the 20th century, Claude Roc, a young middle-class Frenchman meets in Paris Ann Brown, a young Englishwoman. They become friends and Ann invites him to spend holidays at... See full summary »
Antoine Doinel is now more than thirty. He divorces from Christine. He is a proofreader, and is in love with Sabine, a record seller. Colette, his teenager love, is now a lawyer. She buys ... See full summary »
Pierre Lachenay is a well-known publisher and lecturer, married with Franca and father of Sabine, around 10. He meets an air hostess, Nicole. They start a love affair, which Pierre is hiding, but he cannot stand staying away from her.
Charlie is approached by his crook brother Chico, who is chased by two gangsters. Charlie helps him to escape, but he upsets the criminals, so when his brother Fido is kidnapped, Charlie has to take an attitude with tragic consequences.
In the town of Thiers, summer of 1976, teachers and parents give their children skills, love, and attention. A teacher has his first child, a single mother hopes to meet Mr. Right, another ... See full summary »
Stanislas Previne is a young sociologist, preparing a thesis on criminal women. He meets in prison Camille Bliss to interview her. Camille is accused to have murdered her lover Arthur and ... See full summary »
Paris, 1942. Lucas Steiner is a Jew and was compelled to leave the country. His wife Marion, an actress, directs the theater for him. She tries to keep the theater alive with a new play, and hires Bernard Granger for the leading role. But Lucas is actually hiding in the basement... A film about art and life.Written by
Holds the record for most César awards (the French equivalent of the Oscars) for a single film, at 10. It's tied with Cyrano de Bergerac (1990) for this honor, another film starring Gérard Depardieu. See more »
In one scene in the cellar, during a conversation between Marion and Lucas, we can see the sound recordist hiding himself in a corner of the cellar. See more »
Stunning and beautiful and a bit stilted now and then, maybe as device, give it a look!
The Last Metro (1980)
You can see this as a romance, a complicated one filled with restraint and false moves. You can see this as a war movie about resistance and suffering and subterfuge. Or you might see it as a slice of life--never mind the great plot elements--and get a feel for wartime Paris, its oppression under the Nazis and the inability to quite know what to do to survive.
This is layered with a play within a play in a couple ways, and if there is a weakness to the movie it's this inner play. Maybe it's meant to be a bit boring (as the Nazi-sympathizing critic says it is), but it takes up enough of the movie it drags the reality outside of the play down a bit.
Maybe the movie is about accommodation, about bending your highest principles to survive. Or maybe it's about how the smallest of romantic urges are okay to follow through on. Sometimes. Because in the end there is mostly a feeling of having survived. It isn't triumphant, quite, but relieved.
Francois Truffaut is of course not just a famous director but a lionized one, seeming to get credit for lifting cinema into something artistic and valuable, both. All of that is here. The best of this--like feeling leading actress Catherine Deneuve walking the tightrope through people she could not totally trust--is amazing. The filming is subtle and gorgeous, a warm and humanized camera in the hands of Nestor Almendros (famous in the U.S. for "Days of Heaven"). The writing is natural and spare, except for those parts in the interior plays. It is, at its best, a moving beautiful movie.
The structure has an odd breakdown at the end--intentional, with voice-over, but odd nonetheless. It's disruptive not only in time, as intended, but in tone. It forces the viewer to remember this is a fictional invention, an artifice with a cinematic point. And so it is. We see the end with detachment and it's not as rewarding as before.
There's no reason not to see this film. It's different enough to be engaging and yet familiar enough to not be offputting (as some earlier French New Wave directors seem to want). Memorable, at least for a while.
6 of 7 people found this review helpful.
Was this review helpful to you?
| Report this