mcsawley These people are drowning in their own distress and try to hold on to something; there are many scenes in which you see the external world still rotating, and they try to keep swimming by pretending. The absurdity is the striking part, as if there were two communications going on. Excellent dialogs "Irreverence is one way to keep misfortune away". Good acting, Montand/Schneider are credible, Valli grandiose.Great moment of cinema: the dancing monkey and pink dogs are my favourites, and one good scene to remind give stimulus to get out and have a great breath of fresh air.As soon as one realizes that Romain Gary wrote the original book (Frank did only the adapted scenario) , it all pieces together. Gary was Russian/Latvian migrant, and transcribes here the crushing nostalgia typical of the Slaves who have lost their country and feel eternal sorrow for this loss; they however keep going, because this is what life is about; most of the times pretending things are OK but choosing a few occasions to show up their deep feelings.

writers_reign ... Alec Harvey (Trevor Howard) and Laura Jesson (Celia Johnson) hadn't been happily (even boringly) married when they had that chance meeting in 'Brief Encouter' but instead full of angst because 1) his wife was terminally ill and they had mutually agreed that she would take her own life and 2) her husband had regressed to a stage one up from complete vegetable following an accident in which their young daughter died. That, my friends, is the premise for the unlikely meeting between Yves Montand and Romy Schneider who meet on and off throughout one single night then separate. In his wisdom Costa-Gavros has taken one of the most beautiful women in the world and asked her to play dowdy and a man who is charm personified and asked him to play nerd. Somehow it works. Of COURSE it does. We're talking Montand and Schneider here so what's not to work. On the other hand the odds against the stranger whose shopping he knocks to the ground whilst alighting from a taxi being a woman as angst-ridden as himself have to be in the high Impossibles-To-One and it might be interesting to see if Romain Gary made a better fist of it in his novel from which the film is adapted. Montand and Gavros had a history, of course; Gavros got his first break as a director when both Montand and his wife Simone Signoret agreed to star in Compartiment tuers which may not have been green-lighted otherwise and Montand turned in one of his all-time best performances (and that's saying something) in L'Aveu with Gavros on bullhorn so maybe he figured why not. It is indisputable that Montand and Schneider were far, far better in Sautet's Cesar et Rosalie where she was allowed to be not just an actress (and she was a very fine one) but a BEAUTIFUL actress and he was allowed to display not just his considerable acting prowess but also his singular charm and charisma. Here, as if the two guilt-laden protagonists weren't enough we get an eccentric animal trainer, a dog dancing with a monkey (symbolic? You tell me) and Montand 'communicating' with Schneider's brain-impaired husband via gibberish. Yeah, THAT's what it is, a Doris Day movie. Still what we can't get away from is that this is a movie starring Montand and Schneider and that makes it worthwhile. Just.

Mozjoukine This is an oddity to have come from Constantine Costa Gavras still fresh from his substantial triumph with Z. It's not that the film lacks ambition, with two major stars, a strong support cast and first rate technicians. The surprise is that this one is not about corrupt ideologies mowing down the high minded. It's an odd, rather perverse Grands Boulevards weepy - what used to be called a woman's picture before you risked time in the pillory for using that term.A bedraggled, aging Montand has a series of chance encounters in a St. Michel cafe which will dominate his next twenty four hours - with animal trainer Valli (excellent in the Corbucci ER PIU) and a middle aged Schneider in whose bed he shortly finds himself. We notice that, unlike Hollywood actors, Europeans find it necessary to take off their pants when they have sex. He sees Valli's music hall act, with a chimp dancing with a pink poodle much to the delight of Japanese tourists, which Montand finds degalasse (the word dying Belmondo applies to Jean Seaberg at the end of BREATHLESS) He also is taken to the soirée run by Schneider's brain damaged husband's mother Kedrova where, drunk and exhausted, Montand manages to communicate with him in gibberish and gesture. Yves and Romy go round the Etoile the wrong way to the exasperation of traffic gendarmes.A lot of this plays like the surreal non-sequiters in Cocteau, Queneau or lesser Gallic mortals and we have a grim suspicion that the film is leading to some obscure metaphysical statement that will leave you wishing you'd watched the Lee van Cleef movie in number two. However the revelation, when it comes expertly staged and played, makes what we've seen (just about) plausible and leaves us involved with our two mature aged leads.This one was probably a break or a money spinner for its heavy duty participants but they came at it with high seriousness and the result is more intriguing than most of what was done around it.A couple of questions. Where is Jean Reno and how does Benigni get that billing for a virtual walk-on? Would his agent like to represent me?

taylor9885 This had some promise, given the track records of Costa Gavras (Z) and the writer Christopher Frank (La Derobade, L'Important, c'est d'aimer), but this film is a mess. Romy Schneider, always so good in roles in which she's under a lot of pressure, here just looks haggard and irritable. Yves Montand, who can do these roles in his sleep, here does.The story is simple: two people who have recently suffered a great deal come together for consolation rather than love. The emotional tone of the picture is so confused, so lacking in human interest that even the feeble attempts at humour are welcome--the animal trainer who gets a monkey and a poodle to dance. A new low in cinematic fake compassion is surely the scene in which Montand attempts to communicate with Schneider's brain-damaged husband by means of gibberish. Lila Kedrova as the man's mother displays some welcome charm here.