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Die letzte Metro

Originaltitel: Le dernier métro
  • 1980
  • 12
  • 2 Std. 12 Min.
IMDb-BEWERTUNG
7,3/10
16.562
IHRE BEWERTUNG
Catherine Deneuve and Gérard Depardieu in Die letzte Metro (1980)
In occupied Paris, an actress married to a Jewish theater owner must keep him hidden from the Nazis while doing both of their jobs.
trailer wiedergeben2:38
1 Video
99+ Fotos
Arbeitsplatz-DramaPolitisches DramaDramaKriegRomanze

Im besetzten Paris muss eine Schauspielerin, die mit einem jüdischen Theaterbesitzer verheiratet ist, ihn vor den Nazis verstecken, während sie gleichzeitig ihre beiden Jobs machen.Im besetzten Paris muss eine Schauspielerin, die mit einem jüdischen Theaterbesitzer verheiratet ist, ihn vor den Nazis verstecken, während sie gleichzeitig ihre beiden Jobs machen.Im besetzten Paris muss eine Schauspielerin, die mit einem jüdischen Theaterbesitzer verheiratet ist, ihn vor den Nazis verstecken, während sie gleichzeitig ihre beiden Jobs machen.

  • Regie
    • François Truffaut
  • Drehbuch
    • François Truffaut
    • Suzanne Schiffman
    • Jean-Claude Grumberg
  • Hauptbesetzung
    • Catherine Deneuve
    • Gérard Depardieu
    • Jean Poiret
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,3/10
    16.562
    IHRE BEWERTUNG
    • Regie
      • François Truffaut
    • Drehbuch
      • François Truffaut
      • Suzanne Schiffman
      • Jean-Claude Grumberg
    • Hauptbesetzung
      • Catherine Deneuve
      • Gérard Depardieu
      • Jean Poiret
    • 63Benutzerrezensionen
    • 58Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 1 Oscar nominiert
      • 13 Gewinne & 7 Nominierungen insgesamt

    Videos1

    International Trailer
    Trailer 2:38
    International Trailer

    Fotos123

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    Topbesetzung30

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    Catherine Deneuve
    Catherine Deneuve
    • Marion Steiner
    Gérard Depardieu
    Gérard Depardieu
    • Bernard Granger
    Jean Poiret
    Jean Poiret
    • Jean-Loup Cottins
    Andréa Ferréol
    Andréa Ferréol
    • Arlette Guillaume
    Paulette Dubost
    Paulette Dubost
    • Germaine Fabre
    Jean-Louis Richard
    Jean-Louis Richard
    • Daxiat
    Sabine Haudepin
    Sabine Haudepin
    • Nadine Marsac
    Maurice Risch
    Maurice Risch
    • Raymond Boursier
    Heinz Bennent
    Heinz Bennent
    • Lucas Steiner
    Christian Baltauss
    • Lucien Ballard - Bernard's Replacement
    Pierre Belot
    • Le concierge de l'hôtel
    René Dupré
    • Valentin - Writer in Hotel Lobby
    • (as Rene Dupre)
    Aude Loring
    • Frau Wiedekind
    Alain Tasma
    • Marc - Jean-Loup's Assistant
    Rose Thiéry
    • Mme. Thierry - Jacquôt's Mother
    • (as Rose Thierry)
    Jacob Weizbluth
    • Rosen - Rejected Actor
    Jean-Pierre Klein
    Jean-Pierre Klein
    • Christian Léglise
    Rénata
    Rénata
    • Greta Borg - Nightclub Singer
    • Regie
      • François Truffaut
    • Drehbuch
      • François Truffaut
      • Suzanne Schiffman
      • Jean-Claude Grumberg
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen63

    7,316.5K
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    Empfohlene Bewertungen

    9claudio_carvalho

    Another Magnificent Movie of Truffault, A Homage to Theatrics

    In 1942, in a Paris occupied by the Nazis, Marion Steiner (Catherine Deneuve) is a former cinema and presently theater actress, who has also to manage the Montmartre Theater and its company. Her Jewish husband Lucas Steiner (Heinz Bennent), the writer, director and owner of the theater, has officially moved to South America, escaping from the Germans. Indeed he is hidden in the basement of the building. Bernard Granger (Gérard Depardieu) is a promising actor hired to act with Marion in a new play. The survival of the theater depends on the success of this play. Marion falls in love with Bernard, but hides her feelings due to her respect for her husband. Although having a very simple story, this movie is marvelous. The story is a great homage to theatrics, where not only the persons wants to survive, but also desire to save what they love: the theater. I recalled the movie `Il Viaggio di Capitan Fracassa', where theatrics is also honored. It is a love story in times of war. It is a human story, where citizens are presented trying to have a normal life, even having to share their sovereignty and culture with the invaders. It is not corny in any moment. The direction is from one of my favorites directors, François Truffault, who was born in 1932, therefore, he was a ten years old boy when this story begins. Certainly he has had a great experience of life in an occupied country and how life goes on. The beauty and the performance of Catherine Deneuve are astonishing. Gérard Depardieu is in an excellent shape and has also a wonderful performance. Although having 133 min. running time, the film is not long, since the story hooks the attention of the viewer. My vote is nine.

    Title (Brazil): `O Último Metrô' (`The Last Subway Train')
    8ikalafatis

    At times I feel like I really don't exist

    Le Dernier Metro is the portrait of a woman. An ageing, beautiful, authoritative, successful and famous actress caught in her own personal quagmire, and that of a strange historical era.

    It's 1942 and Paris screams under the German occupation. A quiet scream, at least as portrayed by Truffaut, where Parisiens go on living their everyday lives as close to normal as they can. The German element is of course ubiquitous, always lurking in the shadow of normality like an undiagnosed disease. The black market, the Jewish persecution, the curfew, the collaboration and the resistance, all are accepted as just another fact of life.

    The real threat though is the unknown. What will the war bring? How longer will it last? And yet, decency and normality go on being the bourgeois lifestyle of choice, simply because most don't know how to really survive without the city, without its theaters and fashion circles. Without this superficial normality.

    In the middle of this strangeness stands a woman disillusioned by her life. Deep inside, this poignantly beautiful, famous, smart and strong woman is empty. Torn between her professional and artistic duties that have increased dramatically since her Jew husband and theater chef fled to save his life, and her ageing femininity and her devoid of passion life, she revolves around the sole remaining centrepiece of her life, acting. Only acting proves to be just another lifeless remain of her previous life.

    Should she stay faithful to a husband that she stopped loving a long time ago? Do they both cling on to their failing relationship just for the sake of normality, to survive this strangeness of an era? Will tomorrow ever come, and if it comes will she be too old to enjoy it? Deneuve is perfection. The script has most probably been written with her in mind and it shows. Nowhere in the film is she caught relaxing, even in the most ambiguous moments her eyes are crisp clear on her intentions.

    Depardieu is solid but lacks the internal flame his character should possess, probably due to him being influenced by Deneuve's coldness.

    Poiret and Bennent are sublime in secondary but very important roles. Richard underplays his character's potential as a threat. The rest of the cast are adequate and in control of their roles.

    Truffaut delivers a quiet film with claustrophobic cinematography, low-budget sets, fabulous costumes and minimal music. Just like a real theatre show. The director's brilliance drives through the sharpness of the second World War with a fine comb and picks only what's relevant to the story, and nothing more. A film to admire, but not to be inspired from. And there lies probably the only fault of the film. The nouvelle vague has matured and settled down with a sigh.

    Watch this film just to experience the ferociously magnetic beauty and strength of Catherine Deneuve. Or if you really love theatre. Or both.
    7mdw0526

    A more somnolent cinema experience than I expected...

    While it's always lovely to see Catherine Deneuve on the big screen, and always nice to hear the lyrical beauty of French in a film, a lazy Sunday afternoon might not have been the best time to have to focus on subtitles. The movie, though heartfelt and lovingly rendered, slowly meandered and wondered in the typical French way of searching for a higher truth about humanity, all of which made for a more sedate movie-going experience than we had hoped.
    9snucker

    i really liked this one

    this film is excellent. it's a quiet film where the plot moves slowly, but it doesn't matter. it takes place during the occupation of france of world war II. i don't know how truffaut can do this, he makes films that on paper sound melodramatic and silly, but are feel truly real and sincere without being overly depressing. and this is one of them. i don't know a lot about the german occupation of france during WWII, but its presence is certainly in the film you marion buying an expensive ham under the black market, the blackouts, the talks of hiding in subways and the oppressive and communual presence of the germans. but it's not the focal point of the film. it's about people trying to live normally under stressful situations. their lives are not centered around the war, but around surviving with what they value (their theatre) intact.

    it's thoughtful enough to not type-cast its characters based on how they feel about the war and their political positions. a lot of the characters are pragmatic about their situation, such as the director of the play (jean-loup is his name i think) who opposes the germans, but is willing to consider selling the theatre to Daxiat (a powerful pro-german journalist)to save it. all of the crew dislike Daxiat, but treat him with relative respect so that they can keep their theatre running. Daxiat isn't painted as a completely horrible enemy, but was a man who really looked out for the best interests of the theatre company despite the fact that his political views were opposite of those he admired in the theatre company. the people in this film felt real, cuz ideally, we'd all like to think that when faced with oppression from an outside force, we'd be kicking and screaming all the way until we're free of oppression. but in reality, most of us would probably make compromises and do things against our principles to keep what is most important to us (in this case, it's the theatre and its company for the characters here)

    in a way, the film reminded me of wong kar wai's in the mood for love in terms of what it does with its characters. it progresses steadily without a lot of major plot points, and it lets you get to know the characters and let them be real, so you never feel bored at how slow things progress. the characters are well written and well acted so that you care deeply about them.

    *comments on the ending up ahead*

    there is very little that feels staged and over dramatic, and the outcome seems to progress beautifully and quietly. and i don't know what it is about the ending, but i felt strangely uplifted when the credits rolled.
    8secondtake

    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.

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    • Wissenswertes
      In his Chicago Sun-Times review, Roger Ebert wrote that the character of Daxiat, the collaborationist critic, "is such an evil monster that he must surely be inspired by someone Truffaut knows." Michel Daxiat was the pseudonym of the critic Alain Laubreaux (1899-1968), who wrote for the anti-Semitic journal "Je suis partout." The scene where Bernard gives him a beating is inspired by an incident when Jean Marais punched Laubreaux; after Liberation, Laubreaux shared the fate Daxiat suffers at the film's end.
    • Patzer
      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.
    • Zitate

      Marion Steiner: It takes two to love, as it takes two to hate. And I will keep loving you, in spite of yourself. My heart beats faster when I think of you. Nothing else matters.

    • Verbindungen
      Featured in Sneak Previews: Sunday Lovers/Falling In Love Again/My Bloody Valentine/The Last Metro (1981)
    • Soundtracks
      Bei mir Bist du Schön
      (Vous êtes plus Belle que le Jour)

      Music by Sholom Secunda

      Lyrics by Jacob Jacobs

      English lyrics by Cahn-Chaplin

      French lyrics by Jacques Larue

    Top-Auswahl

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    FAQ

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    Details

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    • Erscheinungsdatum
      • 28. Oktober 1981 (Westdeutschland)
    • Herkunftsland
      • Frankreich
    • Offizieller Standort
      • MK2 Films (France)
    • Sprachen
      • Französisch
      • Deutsch
      • Italienisch
    • Auch bekannt als
      • The Last Metro
    • Drehorte
      • Clichy, Hauts-de-Seine, Frankreich(sets, former chocolate factory)
    • Produktionsfirmen
      • Les Films du Carrosse
      • Sédif Productions
      • TF1 Films Production
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 3.007.945 $
    • Eröffnungswochenende in den USA und in Kanada
      • 11.206 $
      • 25. Apr. 1999
    • Weltweiter Bruttoertrag
      • 3.007.945 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      2 Stunden 12 Minuten
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.66 : 1

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