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Ma nuit chez Maud

  • 1969
  • GP
  • 1h 50min
CALIFICACIÓN DE IMDb
7.8/10
15 k
TU CALIFICACIÓN
Ma nuit chez Maud (1969)
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1 video
72 fotos
ComedyDramaRomance

Los rígidos principios de un hombre católico son puestos a prueba una noche por Maud, una mujer divorciada con una gran personalidad.Los rígidos principios de un hombre católico son puestos a prueba una noche por Maud, una mujer divorciada con una gran personalidad.Los rígidos principios de un hombre católico son puestos a prueba una noche por Maud, una mujer divorciada con una gran personalidad.

  • Dirección
    • Éric Rohmer
  • Guionista
    • Éric Rohmer
  • Elenco
    • Jean-Louis Trintignant
    • Françoise Fabian
    • Marie-Christine Barrault
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.8/10
    15 k
    TU CALIFICACIÓN
    • Dirección
      • Éric Rohmer
    • Guionista
      • Éric Rohmer
    • Elenco
      • Jean-Louis Trintignant
      • Françoise Fabian
      • Marie-Christine Barrault
    • 55Opiniones de los usuarios
    • 53Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Nominado a 2 premios Óscar
      • 6 premios ganados y 6 nominaciones en total

    Videos1

    Official Trailer
    Trailer 0:48
    Official Trailer

    Fotos72

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    Elenco principal9

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    Jean-Louis Trintignant
    Jean-Louis Trintignant
    • Jean-Louis
    Françoise Fabian
    Françoise Fabian
    • Maud
    Marie-Christine Barrault
    Marie-Christine Barrault
    • Françoise
    Antoine Vitez
    Antoine Vitez
    • Vidal
    Léonide Kogan
    Léonide Kogan
    • Concert Violinist
    Guy Léger
    • Priest
    Anne Dubot
    • Blonde Friend
    Marie Becker
    • Marie
    • (sin créditos)
    Marie-Claude Rauzier
    • Student
    • (sin créditos)
    • Dirección
      • Éric Rohmer
    • Guionista
      • Éric Rohmer
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios55

    7.815.4K
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    Opiniones destacadas

    8gbill-74877

    Slow start, but a good film

    I was quite bored for the first 25-30 minutes of this film, which is tedious in establishing its main character, shot in a neorealist style that overly elongates everyday activities (e.g. church services), and has dry philosophical discussions on the various opinions of Blaise Pascal. However, when a serious young Catholic named Jean-Louis (Jean-Louis Trintignant) is invited to join an old friend Vidal (Antoine Vitez) and his girlfriend Maud (Françoise Fabian) and the conversation turns to relationships, things improve, and it grew on me. It wrestles with the theme of balancing religious and moral convictions with the temptations of the flesh, as well as the decisions we make in life while selecting a partner.

    There is a refreshing lightness and maturity to the way in which these characters (and perhaps the French in general) treat love affairs. They are spoken of as anything else in life, there is understanding when someone wants to move on, and when a woman says 'no', it's respected, without further pursuit. Vidal leaves Jean-Louis alone with Maud for the night, knowing there is an attraction between the two, and it's interesting to listen to them talk about their views while she lightly flirts with him. In his view, she has two strikes against her - one physical (she's not a blonde, his preference), and one spiritual (she's not a Catholic). On the other hand, it's because there seems to be no chance of a relationship that they seem so happy and natural together. Their scene later in the snow is fantastic. Unfortunately, he's already become attached to another woman he's seen in church (Marie-Christine Barrault), who, while blonde and Catholic, seems less interesting and less sensuous, setting up an interesting choice for him.

    It's telling to me that despite his earnestness and apparent honesty, he tells each of them early on that he feels he's known her for ages. There is something devastatingly honest about hearing that, as we no doubt repeat ourselves in different relationships, and it can be read as being disingenuous, or as commentary that we can connect with many different people in life, and tend to do so, so that our final partner is somewhat arbitrary, even if influenced by certain principles.

    While parts of the film were slow and I wish the philosophical discussions hadn't been so specific to Pascal and Jansenism, I liked the intelligent, meaningful conversations these characters have. I also liked the street footage in the wintertime, during the Christmas holidays, which is clearly real and adds to the film's aesthetic. Françoise Fabian lights up the screen in her scenes, and plays the most interesting character, one I empathized with (divorced, single mom) and related to (more down to earth, and what I would call a spiritual atheist). The ending scene makes us both wistful and accepting at the same time. It's not a perfect film, or even one I would recommend without at least some reservations, but at the end I found I had liked it.
    9framptonhollis

    An Excellent Rohmer Classsic

    This is the third entry in Eric Rohmer's "Six Moral Tales" film series, following the charming romantic short "The Bakery Girl of Monceau" and the somewhat bland, but still well made and written, 55 minute film "Suzanne's Career". Out of the three "Moral Tales" that I've seen, "My Night at Maud's" is easily the best, and most mature. The first two, while fine films, seem more like warm ups to this film.

    "My Night at Maud's" is a spectacular work of art, which mainly consists of the intelligent discussion that goes on in the apartment of a woman named Maud over the coarse of one night. Of course, plenty of other things happen as well, but most of the film takes place during this one long discussion. Joining Maud is the main character, Jean-Louis, a Catholic man who seems to be in love with a woman (named Françoise, who becomes more of a major character later in the film), but hides it from Maude and his Marxist friend Vidal.

    The film is an hour and 50 minutes of watching these wonderful characters talk and talk about various things, mainly things dealing with religion, love, etc. While a film almost entirely consisted of various characters chattering away may sound boring, it really isn't, mainly because the talking is so much fun (and really interesting) to listen to!

    The film is also beautiful to look at, with gorgeous, black and white cinematography that really enhances the pretty cold tone of the film.

    A really great piece of filmmaking!
    howard.schumann

    Unique style and rhythm

    My Night at Maud's is the third in the Six Moral tales series. In this film, an introverted Catholic engineer (Jean-Louis Trintignant) is introduced by his Marxist friend Vidal (Antoine Vitez) to Maud (Francoise Fabian), a charming and worldly divorcee and ends up staying the night in her apartment. Jean-Louis, Vidal, and Maud spend the evening talking about philosophy and religion, particularly about their differing views on Pascal and his wager. The wager goes something like this: Given overwhelming odds against the existence of God (for example, 100 to 1), we must bet on that one chance. For if God does not exist, and we lose the bet, then our loss is inconsequential. But if God does exist, then our lives gain meaning and our reward is eternal.

    After Vidal leaves, Maud tells Jean-Louis about her marriage, her ex-husband's Catholic mistress, and the tragic end to her affair with the only man she truly loved. When he is persuaded to avoid a snowstorm and stay overnight, Jean-Louis has to overcome Maud's advances and his own temptations to remain faithful to his ideal mate, a blond, Catholic girl (Marie-Christine Barrault) he recently met at church.

    This was the first film I'd seen by Eric Rohmer and it was a puzzle to penetrate the uniqueness of his style and rhythm. Rohmer presents his characters in very natural, almost mundane situations, and heightens the realism by using only natural sounds of the environment. On the surface, the film appears very simple but underneath there is much complexity. Jean-Louis is conflicted between his Catholic principles and his love of sensual pleasure. He lives in a world centered almost entirely on himself, engaging in much philosophizing about choice but never choosing. He operates out of how he "should" or "should not" act rather than out of his experience of what works. When life does not fit his pictures, he deceives himself with endless rationalizations. Through his experience with Maud, however, he is shaken out of need for complete self-control and discovers the epiphany of grace.

    Rohmer has a light touch and employs intelligent and witty dialogue to bring his characters to life. In the process, he creates an impersonal elegance that is totally captivating. Rohmer doesn't set out to change our lives just to make us think, and in My Night at Maud's, he succeeds admirably.
    stephen-357

    Pascal's wager

    Can love be reduced to an intellectual calculation? Can faith? What role do the emotions play into this calculation? Blaise Pascal, a French scientist and philosopher, put down his thoughts regarding the Christian Religion which were published after his death and came to be known as "Pensees" or "thoughts". Here Pascal puts forth the case for belief: "Since the duration of our lives is but a moment and the state of death eternal . . . those who are guided by their own inclinations and pleasures without reflection and concern" for the reality of death eternal, are idiots and should be "condemned". He asks, "What would you wager? . . . God is, or He is not. Reason can decide nothing." And not to wager is not an option. Pascal reduces belief to a win/loss calculation with the following: "If you gain, you gain all. If you lose, you lose nothing." MY NIGHT AT MAUD'S is a film devoid of conventional film devices to sway you one way or the other such as music, special effects, close-ups and general sentimentality. This is a film full of dialog and intellectual meanderings, but it is the emotions of the characters, those subtle distortions of the face, and the voice behind the eyes captured by a lingering camera that speak the truth. On the surface, this picture appears one dimensional and the end merely a continuation of the beginning, but under the surface, the characters have been transformed. One's actions may be controlled by intellectual pragmatism, but the emotions govern the inner world with a volotility that cannot be controlled. Single minded conformity to a religious proposition may bring security and comfort, but can love be divorced from the emotions? Can emotions be governed by the intellect? As to Pascals Wager, if one clings to this rigid proposition, despite the changing landscape of the emotions, perhaps shunning love itself, can the conclusion that "nothing is lost" still be held?
    8reasonformirrors

    Rohmer takes his "Moral Tales" to the Next Level

    The third of Rohmer's Moral Tales, and quite unlike the previous two. The first two clocked in at approximately 23 minutes and 54 minutes, respectively. "My Night at Maud's", almost two hours. While the first two Moral Tales were basically first-person narration accompanied by visuals, which were secondary but stimulating nonetheless, "My Night at Maud's" is a dialogue-driven piece in which character's exchange personal philosophies and trade the ideas of their favorite philosophers like baseball cards. Although I'm not sure of which films are in Richard Linklater's (Before Sunrise, Before Sunset) DVD collection, it would probably be safe to assume that this is one of them.

    Because it is a dialogue-driven piece, much more happens in the 54-minute-long "Suzanne's Career", Rohmer's second moral tale, than in "My Night at Maud's", which is about an hour longer. It can seem meandering at times, especially the first-half of the film, but put your trust in Rohmer. We're being bored to death for a reason. Listening to two Frenchmen discuss Pascal's Wager isn't very entertaining, but the payoff comes when, later on in the film, the characters are put into situations in which they have to make their own Pascal's wager, metaphorically speaking. The reward comes when we see these philosophies which they discussed tested in real-life situations, and we see how true, or untrue, to their ideals these characters are.

    During the first fifty minutes, you may be bored out of your skull, but the way the film unfolds, you'll probably want to go back and watch the first fifty minutes again after it's over.

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    Argumento

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    ¿Sabías que…?

    Editar
    • Trivia
      Jean-Louis Trintignant's character is never called by name in the entire film. He is shown in credits as "Jean-Louis."
    • Errores
      When Jean-Louis Trintignant accepts to climb into bed with Françoise Fabian, he motions for her to pass him the blanket, extending his right hand holding a lit cigarette. The next shot from the side shows him grasping the blanket with a cigarette-free right hand.
    • Citas

      Jean-Louis: Are you still a Marxist?

      Vidal: Absolutely. For a Communist, Pascal's wager is very relevant today. Personally, I very much doubt that history has any meaning. Yet I wager that it has, so I'm in a Pascalian situation. Hypothesis A: Society and politics are meaningless. Hypothesis B: History has meaning. I'm not at all sure B is more likely to be true than A. More likely the reverse. Let's even suppose B has a 10% chance of being true and A has 80%. Nevertheless I have no choice but to opt for B, because only the hypothesis that history has meaning allows me to go on living. Suppose I bet on A, and B was true, despite the lesser odds. I'd have thrown away my life. So I must choose B to justify my life and actions. There's an 80% chance I'm wrong but that doesn't matter.

      Jean-Louis: Mathematical hope. Potential gain divided by probability. With your hypothesis B, though the probability is slight, the possible gain is infinite. In your case, a meaning to life. In Pascal's, eternal salvation.

      Vidal: It was Gorky, Lenin or maybe Mayakovsky who said about the Russian revolution that the situation forced them to choose the one chance in a thousand. Because hope became infinitely greater if you took that chance than if you didn't take it.

    • Conexiones
      Featured in The 82nd Annual Academy Awards (2010)

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    Preguntas Frecuentes18

    • How long is My Night at Maud's?Con tecnología de Alexa
    • What are the names of all six of Rohmer's moral tales?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 4 de junio de 1969 (Francia)
    • País de origen
      • Francia
    • Sitio oficial
      • Les Films du Losange (France)
    • Idioma
      • Francés
    • También se conoce como
      • My Night at Maud's
    • Locaciones de filmación
      • Clermont-Ferrand, Puy-de-Dôme, Francia(town)
    • Productoras
      • Compagnie Française de Distribution Cinématographique (CFDC)
      • Union Générale Cinématographique (UGC)
      • Sirius
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Total a nivel mundial
      • USD 11,088
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 50 minutos
    • Color
      • Black and White
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.33 : 1

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