Daisies is hard to describe, it needs to be experienced. And you should. The protagonists are wonderful, and there is still, 50+ years later, something unusually freeing about watching two young women gorge themselves on food and drinks the way they do.
Interestingly, after initial good reviews, the film was pretty much banned in its native Czechoslovakia by the communist regime for “depicting the wanton.” However, it is now generally regarded as one of the great Czechoslovak movies of all time.
Introvert Austrian Jules (Werner) and extrovert Frenchy Jim (Serre) meet as young men in 1912 and a lifelong friendship is born. While rocking their bohemian lifestyle and moving through relationships with various women, they meet free spirited Catherine (Moreau) who they both fall for in their own way.
Catherine is impulsive and fun, but also intelligent and charming. Jules loves her but is a misogynistic bastard at heart despite his ideas of himself as progressive (as demonstrated by his speech after the Strindberg play they go to see). Still, he convinces her to marry him for some strange reason, although she seems a bit luke warm towards the whole thing. As WWI breaks out, the two men are drafted on opposite sides with Catherine stuck in Austria by herself.
After the war, the men rekindle their relationship, and Catherine is once again stuck in the middle with both men wanting to marry her. And they do. But while she has a daughter with Jules, she is unable to conceive with Jim which causes a rift. In addition, the fact that Jim has another girlfriend might also contribute to some tension.
Jules et Jim is a very interesting movie for many reasons. It’s pretty much the epitome of French New Wave and Jeanne Moreau’s great international break out role. It’s also filled with very interesting characters. We cannot quite decide if they are all complex and realistic or just inconsistent and difficult to read. Despite the title, the film is really all about Catherine, but without ever revealing her thoughts and feelings.
Because let’s face it: there’s a very strange relationship between Catherine and men. She is always surrounded by them, with no female friends. Nor does she have any friends who aren’t interested in sleeping with her. Yet none of the ones who consider themselves close to her are interested in listening to her. She is ignored whenever she tries to talk about something other than the men or her feelings towards them. Anything else is uninteresting to the men who claim to “love” her.
This is no way excuses her final actions, but perhaps it goes some way towards explaining them. She is a nonconformist forced to conform to wife and mother, and an intellectual forced to only talk about men and relationships. It’s enough to make anyone snap.
Jules et Jim is a technically interesting movie as well: we loved the voice-over; the “erratic” filming; the cuts and “fast-forward” feeling which felt like snapshots from their lives, and the distance this in many ways created; the costumes; and the complex and unusual characters. There’s a reason this is considered a classic. And we’re sure there are a thousand ways to interpret the relationship between the characters. This was just our two cents.
Charlie Kohler/Edouard Saroyan (Aznavour) is a piano player in a dive bar, but a former classical concert pianist. When his brother Chico (Rémy) seeks him out to shelter him from a couple of gangsters he’s pissed off, Charlie gets dragged back into the criminal family he’s avoided for years.
Simultaneously, the shy and slightly awkward musician strikes up a relationship with waitress Léna (Dubois), but the gangsters follow them one night and the couple are kidnapped. However, they get on surprisingly well with their kidnappers.
They get out of that fix unharmed, but as the gangsters become more and more determined to use Chico’s family members to track him down, Charlie realises he must flee and leave his girlfriend behind. Lest she ends up like his first wife…
Shoot the Piano Player is very different from our last encounter with Truffaut, The 400 Blows. It’s a bit Noiry, with the flashbacks, the past the main character cannot escape, the general bleakness and the occasional voiceover narration.
It’s often sad, dark and depressing, but there are some fantastic laugh-out-loud moments which help alleviate the whole affair somewhat. We’ve been missing the noirs a bit lately (there were so many of them for a while there!), so we really enjoyed this one. Worth watching for fans of French New Wave, Film Noir, thrillers, dramas, and Truffaut in general.
For such an unlikable man, Michel has a way with the ladies and manages to get some money out of one female friend before moving on to the main object of his desires, American journalism student Patricia (Seberg). He tries to convince her to run away with him while she tries to figure out how she feels about the man she spent a few nights with.
Michel wants to be a tough guy and he models himself on Humphrey Bogart. Patricia is also trying to figure out who she is – perhaps the Bonnie to his Clyde? With the police closing in, they are running out of time and decisions must be made. Who are they really?
Breathless is stylish and artsy, sometimes with a documentary feel to it, while other times it feels more like a romantic comedy or a noir. We love how cool it is, the breaks in the fourth wall, the cuts and close-ups, the opening line and Patricia’s gorgeous stripy clothes (really – she only wears stripes).
Antoine Doinel (Léaud) is a pretty average kid. He lives with his self-centred mother (Maurier) and nice enough, but very strict, stepfather (Rémy) in a small apartment in Paris. He doesn’t do too well in school and occasionally gets in trouble, although his best friend René (Auffay) seems to be the instigator at least some of the time.
After he’s caught skipping school and lying about his mother’s death to cover for it, Antoine runs away from home. It only lasts for a day or so though, but when his teacher later accuses him of plagiarising Balzac, Antoine runs away again. This time for a while, and with more serious consequences.
Antoine is misunderstood and/or ignored throughout the film. None of the adults in his life take the time to listen to him, and his actions are very often misinterpreted and harshly punished, such as his homage to Balzac and his return of the stolen typewriter (which, granted, he did steal earlier).
We loved The 400 Blows. While it’s a fairly tragic tale of a talented but misunderstood young boy who gets into all sorts of (quite serious) trouble, it’s not all bleak. We loved the P.E. sequence with the rapidly diminishing student body, the centrifugal carousel, the shrine to Balzac and the kids watching the puppet show.
Without spoiling it, the ending is also (possibly) optimistic, with Antoine standing at several thresholds and between two chapters of his life. There are four more films made about the same character played by the same (wonderful) actor, and we’re tempted to make a night of it and watch them all. In about ten years when we’re done with everything on the list…
Foreign Legion veteran Julien Tavernier (Ronet) and his lover Florence Carala (Moreau) have a diabolical plan: they will kill Florence’s husband, who just so happens to be Julien’s boss, and make it look like a suicide. The plan is good (you know, in an evil way) and goes smoothly until Julien forgets to get rid of a key piece of evidence.
Florist Véronique (Bertin), who works across the street, and her crook boyfriend Louis (Poujouly) take this opportunity to steal Julien’s car and go on their own spree, which also ends in murder. One in which Julien becomes the main suspect as Louis stole his identity as well as his sweet ride.
We loved everything about this movie. It is visually stunning and fantastically scored with music by Miles Davis. Despite the fact that Julien committed his very own murder, we kept hoping that pretentious douchebag Louis would be arrested to clear Julien of killing the extremely happy German tourist, and the suspense kept us on the edges of our seats.