Los amantes

In 1959 this film was considered as something close to porno, but this is far enough from the reality. Jeanne Moreau was young, nice and attractive. She was the star of this film, which goes slowly as usual in French cinema's style. When you see this type of film you must become a psychologist to penetrate inside the brains of each hero and make some conclusions. Accordingly I concluded that life is not a straight line, suddenly something may happen in our lives that deviate completely this straight line. Formal ethics accepted by the society goes sometimes to extremes that does not enable the persons to behave and feel happy. What's wrong when the current life is disrupted to start a new one? At this point I advise you to see this old, and black and white film, which may compel you to think and to conclude something new, probably different to what I am saying here.

In this, director Louis Malle's second film, which for awhile seems like it will be another high society soap opera, a seemingly arbitrary plot detour occurs that places the beautiful Jeanne Moreau in a situation all the less convenient and all the more frustrating because of how accustomed she has become to her privilege. Consequently, Moreau is less like a Sex and the City character and more of a realization that a social ladder does not leave problems below it. They follow you from decision to decision to decision. And the further up it she climbs, the less considerate her decisions seem to be of the world outside of herself.

As a 25-year-old French director at the dawn of the New Wave, he was not alone in satirizing and criticizing the bourgeoisie. Ironically, being younger than fellow Nouveau filmmakers Godard and Truffaut, as well as having been born into a wealthy industrialist family, had no hand in blinding him by way of his privileged ego. Watching this biting romantic drama about adultery and the reality and illusion of rediscovering love, I see that Malle understood the upper-class freedom of never having to worry about tomorrow, and not only does he characterize it with an almost humorously frustrating edge, he wisely satirizes love at first sight.

The movie was made in 1958, but Malle's style has yet to garner an expiration date. There are no outdated lap dissolves or screen wipes or quick fade-outs. The controversy at the time surrounding this film's alleged obscenity had a rebounding effect on the flimsy subjectivity of society's accusations. He was simply being honest, which he is in the aforementioned portrayals beyond the simple night of passionate love Moreau has with her lover. Instead of a coy imitation of a spectator blushing and looking away, as many other films did and still do when the camera moves to the window or the ceiling, Malle fixates on her ecstasy. Even now, rarely do we see a close shot of a woman's sexual pleasure.

A bit like Woody Allen would come to do in a few decades, Malle tends to saturate his soundtracks with a single composer. Here, it is Johannes Brahms, whose music is a brilliantly and acutely intuitive choice for the film since, much like the characters, he has a classical sense of form and order yet he's bold in his exploration of harmony and rhythm.

Crazy about French movies ever since I started watching them. The black and white is more appropriate than colour for French film, very captivating and unreal.

What can you say about the French people? Desperados and aficionados of romance and love. Hopelessly romantics.

Simple story told like a poem regardless of any moral criticism, there is no such thing call moral or immoral in the realm of art. Art is a rival to morality, it allows all sorts of existences. In this movie, the sin is adultery but no one cares to condemn it, the pursuit of love takes it all. The love scene might be stunning to the audience in late 50s France, but definitely not today. Jeanne Moreau somehow took a bold step. Anyway, she is radiating gloriously in superb cinematography.

Jeanne Tournier married to a well-off provincial newspaper owner for eight years. She has a daughter, a polo-playing lover and a big bunch of acid-tongued snobbish Parisian friends. Nevertheless, she is bored about living in such a polite society. Finally when Bernard, a young student whom she has known just for a few hours, enters into her life, just after solely one night's time in her husband's villa with him, she decides to leave with him into the uncertain future the very next morning.

Several lyrical scenes impress me a great deal. Their nightly accidental encounter at the garden. Jeanne is illuminating the dimness, she looks like a mystic fairy seducing Bernard. Another one is the astonishing look of her friend when she sees them leaving together. The most memorable is the very last scene, they drive and drive into the unknown, unexplored.

The map shown at the beginning and the voice-over at the end may be something like a warning. However, when two lovers in love that they can sacrifice everything for the romance in such a desperate fashion, nothing is threatening. Feminists or women who are fighting for their freedom would be clapping their hands she's got guts.

The bored and empty upper-class Jeanne Tournier (Jeanne Moreau) lives in a manor with many servants in the countryside of Dijon with her husband Henri Tournier (Alain Cuny) and their daughter Catherine. Henri is the editor of The Burgundy Monitor and has been married to Jeanne for eight years, but he does not give much attention to his wife. Jeanne travels frequently to the house of her childhood friend Maggy Thiebaut-Leroy (Judith Magre) in Paris to meet her lover, the famous polo player Raoul Flores (José Villalonga).

One day, Henri suspects of the frequent trips of Jeanne to Paris and invites Maggy and Raoul Flores to have dinner and spend the weekend in his mansion. While driving back home from Paris, Jeanne car breaks down and the archaeologist Bernard Dubois-Lambert (Jean-Marc Bory) that is going to Montbard to visit a professor, gives a ride to Jeanne. Henri invites Bernard to stay with them and during the night, he has a love affair with Jeanne. On the next morning, Jeanne decides to go away from Henri, Catherine and Raoul with her new lover.

"Les Amants" is the second film of Louis Malle and I can imagine the impact of this amoral story in 1958, with a mother leaving her daughter to seek true love with her younger lover. The muse of many filmmakers Jeanne Moreau is gorgeous and sensual in the role of a woman ahead her time needy for love and happiness. The cinematography in black and white is wonderful and the open conclusion fits perfectly to this sensual film. My vote is seven.

Title (Brazil): "Os Amantes" ("The Lovers")

You've got it all, excepting a sad marriage, hubby's not interested, in your wagon or carriage, so you spend the weeks in Paris, watching polo has its merits, but at the weekend you return, to the disparage. Circumstances mean acquaintances will visit, a bit closer than just friends is Raoul Flores, but a breakdown on the way, causes detour and delay, and an extra guest now joins the home foray.

Jeanne Moreau, one of the most eye-catching actors of her day plays Jeanne Tournier, a woman oozing dissatisfaction with her home life in rural Dijon, wants to be dazzled by the sights and sounds of Paris, but has her attentions distracted quite unexpectedly when she is forced to arrange a weekend soirée in the marital mansion.

Fanciful stuff, and a little bit daft.