This movie is interesting in that it explores the life of a woman who seems incapable of sustaining a relationship. Catherine Deneuve is this screwed up lady and bounces from one relationship to another. In the process, kids are also affected but the film seems to pretty much ignore the impact of this woman on others and instead focus on her. Well, I found her to be pretty selfish and shallow, so for me, it wasn't an exactly satisfying viewing experience. I would have MUCH preferred if the film showed more of the impact on the kids--especially years later when they, too, have a long series of shallow relationships. Others may find it more compelling. Considering, though, that the movie has a strong cast, I am actually surprised I still didn't enjoy it a little more--even if the material isn't exactly what I like.
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planktonrules18 March 2006
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I have only seen this film about three times and that was years ago but somehow it has stayed with me. The plot is inconsequential; the synopsis tells you most of it, the film just dots the Is and crosses the Ts, but it is copperplate not shorthand. Almost everyone concerned with it had great artistic and commercial success after making it, the director, for instance, Claude Berri, who also wrote it, went on to do Jean de Florette and Manon des Sources; it has therefore been overshadowed in all the careers it helped to shape.
The acting, locations, cinematography and editing by Etienne Becker and Arlette Langmann respectively, are a delight to behold and the film matches it's star in beauty, intelligence and style; I am surprised in many ways that it is not more appreciated than it is. There is a winter scene of them arriving at her home in the country for the New Year's Dinner at the crux of the story that makes me want to sell up and move there, and I don't like snowy winters!
The casting is perfect for a story of a woman who has had her share of interesting lovers - Catherine Deneuve and Gerald Depardieu coming into their prime, Serge Gainsbourg, Jean-Louis Trintignant and Christian Marquand already at home there. The reason for the number of lovers is Alice's elegant inability to cope with the boredom of long term relationships and her sophisticated ability to handle the break-ups and, of course, the fact that her beauty and personality will always attract someone new while the discarded ones hang on as friends.
Part of the interest is to see the traditional male attitude embodied in such indisputable femininity. This is no ladette copying the men, or a strident feminist getting her own back on the offending sex. She simply lives her life on her own terms without rancour or regret.
This film should be more widely seen, it is sad that even in France it is only available on video, not DVD and does not seem to be available elsewhere at all. -
morrison-dylan-fan20 January 2021After stepping off The Last Metro (1980-also reviewed) I decided to take a look at what other French films from 1980 I have waiting to be viewed. Catching up on X-Mas/New Year films that I did not get round to seeing during the holiday season,I was pleased to find a title set during the festive season from 1980,that reunited the leads of The Last Metro.
View on the film:
Inviting four of her former partners round during the Christmas/New Year season for dinner, the screenplay by co-writer/(with Michel Grisolia) director Claude Berri rings in Alice's New Year with excellent flashbacks into each relationship, which explores the masculine dominant side of the men coming up against Alice's relaxed confidence for relationships to be on her own terms.
Serving up the failed relationships, the writers impressively avoid this from creating a gloomy mood, thanks to Alice's mature, thoughtful outlook to continue the each relationship as friends, whilst she continues to try and find a partner who shares the same refined outlook,and is at ease over what shape Alice desires the shape of the relationship to be.
Teaming up with Deneuve for the second time in 1980, Gerard Depardieu gives a merry turn as Patrick, whose lively bravado manner swaggers at odds with Alice's calm,contemplating gaze,which also catches the sigh of Serge Gainsbourg's wonderfully over-emotion turn as arty lover Simon,and Jean-Louis Trintignant bringing out a sweet, stumbling shyness in his turn as Julien.
Digging into the history of Alice, Catherine Deneuve gives a sparkling performance,thanks to Deneuve balancing Alice's maturity over staying strong on her beliefs over how the romantic relationships should be,with a infectious optimism for new love in a new relationship.