movies 100 theaters

  • Subscribe to our RSS feed.
  • Twitter
  • StumbleUpon
  • Reddit
  • Facebook
  • Digg

jueves, 17 de noviembre de 2011

492. Ma nuit chez Maud/My Night at Maud's (1969)

Posted on 2:45 by Unknown
Running Time: 110 minutes
Directed By: Eric Rohmer
Written By: Eric Rohmer
Main Cast: Jean-Louis Trintignant, Francoise Fabian, Marie-Christine Barrault, Antoine Vitez
Click here to view the trailer

A MORAL TALE

In fact, there were six "moral tales" directed by Eric Rohmer, but "My Night at Maud's" happens to be the only one included in THE BOOK. It's a shame really, because this film really peaked my interest in Eric Rohmer and makes me excited to discover more of his hidden gems, of which there's bound to be many.

Jean-Louis (Trintignant) is a Catholic, living in Clermont in France. He is new to the area, working as an engineer and spends his free time studying mathematics and keeping to himself. He attends Sunday services and is enamored by a cute, young blonde whom he sees there every Sunday, but has never mustered up the courage to approach. One day, Jean-Louis runs into an old friend, Vidal (Vitez), whom he hasn't seen in fourteen years. It is just after Christmas, but before New Year's and the two old chums sip beverages at a coffee bar and talk as if they've never missed a beat. At the end of their conversation, Vidal persuades Jean-Louis to join him in visiting a lady friend of his, Maud (Fabian). Jean-Louis reluctantly agrees. The evening between Jean-Louis, Vidal and Maud and their conversations, ranging from religion to love to philosophy, takes up a major part of the film. Eventually Vidal has too much too drink and excuses himself, leaving Jean-Louis and Maud alone together. When Maud persuades Jean-Louis to spend the night, so he won't have to drive in the snow, Jean-Louis is faced with some difficult decisions of morality.

SPOILER ALERT!

I kind of have to argue whether or not this is really a "moral tale". In my opinion, "My Night at Maud's" was not so much a tale of morality, but rather a tale of the decisions we make and the finality of those decisions. It also speaks volumes on the relationships that we kindle as human beings and how sometimes, so easily, they get extinguished. Let's take the main character of Jean-Louis and dissect him. For starters, he was a very complex character. He touted devout Catholicism, yet he had a very repugnant demeanor, at times. During the conversation scene, between Jean-Louis, Maud and Vidal, he seemed so cocky and smug and not the type of person you'd expect to be harping on about religion and morality. As the film goes on he becomes more relateable, but we'll get into that in a second. Here you had a guy who seemed to have his entire life thought out. He somehow knew that he was going to marry the mystery woman from the church, he knew that he wanted a Catholic girl, if nothing else and he often times, throughout the film, claimed that "he knew he wasn't wrong" or "i know I'm right". For him, everything was so final and his life seemed to depend on these solid, structural choices he'd made for himself.

So then you get to the point of the film that actually makes this a "moral tale" and the scene where Jean-Louis is confronted with the beautiful Maud, as they lie in bed together - her nude and him wrapped in a blanket and trying hard to stick to his guns. And, what do you know, Jean-Louis sticks to his guns and when the carrot is dangled in front of him, so to speak, he doesn't go for it. He resists. BUT...he still feels guilty about it. To me, that's fascinating and rings true to life. The reason I say he still feels guilty about it, is at the end of the film, immediately after he runs into Maud at the beach, he's tripping over his own tongue, trying to explain everything to Francoise, who is now his wife. He still feels like he has to explain her, as if she actually is an old lover of his, when in reality, nothing happened between them. They DID have a very deep bond, as short as it lasted, but sexually - nothing happened.

And let's talk about that bond between Jean-Louis and Maud for a moment, shall we. I think we all have people in our lives that we've happened upon, spent a very short amount of time with and then parted ways with, never to see them again. It's so sad really. In the film, when Maud and Jean-Louis are in her apartment and they part and promise to phone one another, it was, to me, a very sad scene, because you kind of knew that they were just going to forget about one another. For me this really hit home, because I've had so many friendships in my life that have blown away like dust in the wind. It's truly heartbreaking if you stop and think about it. You meet someone and for the time that you know them, they're special people to you, but then they go away, for one reason or another and soon they're nothing to you. To go from something to nothing is just heartbreaking. It was also very interesting how Francoise, at first, was completely uninterested in Jean-Louis, yet he was enamored with her. Maud, on the other hand, all but threw herself at Jean-Louis, yet he had already made up his mind that Francoise was the girl for him. It's something that I can't fully understand, yet am fascinated by and can understand on some levels.

As for the bad, I'm not sure I could really relate to the subject matter that existed in the dialogue. I'm just not the type of guy who enjoys sitting around talking about religion, Blaise Pascal and destiny. They're conversations, at times, made me feel like a child in a room full of adults. Not that they made me feel inferior or unintelligent, just that they made me feel bored and uninterested. I was more thought provoked by the actions of the actors and the ultimate outcomes, than the dialogue. However, the dialogue was such a major part of the film, that it was hard to simply overlook it and concentrate on the big picture. I'm not so sure that the subject matter within the dialogue was very important though. I think as long as you were able to grasp the overall message and themes of the picture, you were just fine.

RATING: 7.5/10 I'm not really sure what to make of this one, at this time. I know that I admire how much it made me think and that I think I'm going to be tossing it around in my head for many weeks to come.

MOVIES WATCHED: 349
MOVIES LEFT TO WATCH:
652

November 17, 2011 2:45am

Enviar por correo electrónicoEscribe un blogCompartir en XCompartir con Facebook
Posted in Eric Rohmer | No comments
Entrada más reciente Entrada antigua Inicio

0 comentarios:

Publicar un comentario

Suscribirse a: Enviar comentarios (Atom)

Popular Posts

  • 411. Khaneh siah ast/The House is Black (1963)
    Running Time: 22 minutes Directed By: Forugh Farrokhzad Written By: Forugh Farrokhzad Main Cast: (narration): Ebrahim Golestan, Forugh F...
  • From 30's to 40's
    I've spent a considerable amount of time getting to know the scope of cinema that was the 1930s. It was a colorful decade, full of lots ...

Categories

  • Aditya Chopra
  • Agnes Varda
  • Albert Brooks
  • Alejandro Jodorowsky
  • Aleksandr Dovzhenko
  • Alexander Mackendrick
  • Alexander Payne
  • Alfred Hitchcock
  • Amy Heckerling
  • Anatole Litvak
  • Andre Delvaux
  • Ang Lee
  • Arthur Penn
  • Barbet Schroeder
  • Ben Sharpsteen
  • Blake Edwards
  • Bob Clark
  • Bob Fosse
  • Bong Joon-ho
  • Busby Berkeley
  • Carl Reiner
  • Carl Theodor Dreyer
  • Carlos Saura
  • Carol Reed
  • Chantal Akerman
  • Charles Chaplin
  • Charles Crichton
  • Charles Vidor
  • Chris Marker
  • Christopher Nolan
  • Claude Chabrol
  • Curtis Hanson
  • Daniel Myrick
  • Danis Tanovic
  • Dario Argento
  • Dariush Mehrjui
  • David Cronenberg
  • David Hand
  • David Lean
  • David Zucker
  • Derek Jarman
  • Don Siegel
  • Dorothy Arzner
  • Douglas Sirk
  • Edgar G. Ulmer
  • Eduardo Sanchez
  • Edward Dmytryk
  • Edward F. Cline
  • Edward Yang
  • Elaine May
  • Elia Kazan
  • Elmar Klos
  • Emeric Pressburger
  • Emile de Antonio
  • Eric Rohmer
  • Ernest B. Schoedsack
  • Ernst Lubitsch
  • Errol Morris
  • F.W. Murnau
  • Federico Fellini
  • Fei Mu
  • Florian Henckel von Donnersmarck
  • Forugh Farrokhzad
  • Franco E. Prosperi
  • Francois Girard
  • Frank Capra
  • Frank Darabont
  • Frank Lloyd
  • Franklin J. Schaffner
  • Fred Schepisi
  • Fred Zinnemann
  • Fritz Lang
  • Garry Marshall
  • Gaspar Noe
  • Gene Kelly
  • George A. Romero
  • George Cukor
  • George Marshall
  • George Roy Hill
  • George Stevens
  • George Waggner
  • Georges Franju
  • Gillo Pontecorvo
  • Gregory La Cava
  • Gualtiero Jacopetti
  • Guy Hamilton
  • Hal Ashby
  • Hal Hartley
  • Hamilton Luske
  • Hans Petter Moland
  • Harold Ramis
  • Hayao Miyazaki
  • Hector Babenco
  • Hideo Nakata
  • Hiroshi Teshigahara
  • Howard Hawks
  • Humphrey Jennings
  • Ingmar Bergman
  • Ivan Reitman
  • Jacques Tourneur
  • James Foley
  • James L. Brooks
  • James Whale
  • Jan Kadar
  • Jan Svankmajer
  • Jane Campion
  • Jay Roach
  • Jean Renoir
  • Jean Vigo
  • Jean-Luc Godard
  • Jean-Pierre Jeunet
  • Jean-Pierre Melville
  • Jerome Robbins
  • Jerry Lewis
  • Jim McBride
  • Jim Sharman
  • Jim Sheridan
  • Jiri Menzel
  • Joe Wright
  • Joel Coen
  • John Boorman
  • John Carney
  • John Carpenter
  • John Ford
  • John Frankenheimer
  • John G. Avildsen
  • John Hughes
  • John Huston
  • John Landis
  • John Lasseter
  • John McTiernan
  • John Schlesinger
  • Jonathan Dayton
  • Jonathan Demme
  • Josef von Sternberg
  • Joseph L. Mankiewicz
  • Joseph Losey
  • Julien Duvivier
  • Karel Reisz
  • Ken Loach
  • Kenji Mizoguchi
  • Kenneth Anger
  • Kevin Costner
  • Kevin Smith
  • Kim Ki-duk
  • King Hu
  • King Vidor
  • Larry Charles
  • Lars von Trier
  • Lawrence Kasdan
  • Leni Riefenstahl
  • Leo McCarey
  • Lewis Milestone
  • Lindsay Anderson
  • Lloyd Bacon
  • Lowell Sherman
  • Luis Bunuel
  • Ma-Xu Weibang
  • Marcel Carne
  • Mark Sandrich
  • Marlon Brando
  • Martin Ritt
  • Mel Brooks
  • Mel Stuart
  • Merian C. Cooper
  • Mervyn LeRoy
  • Michael Curtiz
  • Michael Haneke
  • Michael Moore
  • Michael Powell
  • Michael Snow
  • Michelangelo Antonioni
  • Mike Hodges
  • Mike Nichols
  • Miklos Jancso
  • Nelson Pereira dos Santos
  • Norman Jewison
  • Norman Z. McLeod
  • Olivier Dahan
  • Orson Welles
  • Otto Preminger
  • Paolo Cavara
  • Park Chan-wook
  • Paul Haggis
  • Paul Thomas Anderson
  • Penny Marshall
  • Peter Bogdanovich
  • Peter Greenaway
  • Peter Jackson
  • Peter Watkins
  • Peter Weir
  • Phillip Noyce
  • Pier Paolo Pasolini
  • Preston Sturges
  • Quentin Tarantino
  • Randa Haines
  • Raoul Walsh
  • Ray Lawrence
  • Rene Clair
  • Richard Attenborough
  • Richard Lester
  • Richard Linklater
  • Rob Reiner
  • Robert Aldrich
  • Robert Benton
  • Robert J. Flaherty
  • Robert Mulligan
  • Robert Redford
  • Robert Rossen
  • Robert Wise
  • Roger Corman
  • Roman Polanski
  • Rouben Mamoulian
  • Sacha Guitry
  • Sam Mendes
  • Sam Raimi
  • Sam Wood
  • Sergei Parajanov
  • Sergei Yutkevich
  • Sergio Leone
  • Sidney Lumet
  • Stan Brakhage
  • Stanley Donen
  • Stephen Frears
  • Steve James
  • Steven Soderbergh
  • Steven Spielberg
  • Stuart Rosenberg
  • Takashi Miike
  • Tay Garnett
  • Terence Fisher
  • Theo Angelopoulos
  • Thomas Vinterberg
  • Tim Burton
  • Tod Browning
  • Valerie Faris
  • Vera Chytilova
  • Victor Fleming
  • W.S. Van Dyke
  • Wes Craven
  • William A. Seiter
  • William A. Wellman
  • William Cameron Menzies
  • William Dieterle
  • William Friedkin
  • William Keighley
  • William Wyler
  • Wim Wenders
  • Wojciech Has
  • Wolfgang Reitherman
  • Woody Allen

Blog Archive

  • ►  2012 (81)
    • ►  mayo (10)
    • ►  abril (20)
    • ►  marzo (11)
    • ►  febrero (1)
    • ►  enero (39)
  • ▼  2011 (216)
    • ►  diciembre (30)
    • ▼  noviembre (19)
      • 196. GILDA (1946)
      • 819. Pretty Woman (1990)
      • 494. Hsia Nu/A Touch of Zen (1969)
      • Four WISE Choices - COMING SOON
      • 422. A Hard Day's Night (1964)
      • 548. Deliverance (1972)
      • 451. Da Zui Xia/Come Drink with Me (1966)
      • 876. The Shawshank Redemption (1994)
      • 468. Point Blank (1967)
      • 492. Ma nuit chez Maud/My Night at Maud's (1969)
      • 415. Goldfinger (1964)
      • UPDATE - November 2011
      • 707. Once Upon a Time in America (1983)
      • COMING SOON
      • 479. C'era una volta il West/Once Upon a Time in t...
      • 449. Il buono, il brutto, il cattivo/The Good, the...
      • 478. Gaav/The Cow (1968)
      • 450. Sedmikrasky/Daisies (1966)
      • October 2011 Recap
    • ►  octubre (17)
    • ►  septiembre (2)
    • ►  agosto (23)
    • ►  julio (47)
    • ►  junio (9)
    • ►  mayo (1)
    • ►  abril (25)
    • ►  marzo (20)
    • ►  febrero (22)
    • ►  enero (1)
  • ►  2010 (190)
    • ►  diciembre (2)
    • ►  noviembre (32)
    • ►  octubre (32)
    • ►  septiembre (27)
    • ►  julio (8)
    • ►  junio (4)
    • ►  mayo (1)
    • ►  marzo (25)
    • ►  febrero (34)
    • ►  enero (25)
  • ►  2009 (12)
    • ►  diciembre (12)
Con la tecnología de Blogger.

Datos personales

Unknown
Ver todo mi perfil