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Jean-Paul Belmondo and Annie Girardot in Un homme qui me plaît (1969)

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Un homme qui me plaît

बदलाव करें

Le Passager: This sounds like a line, I know, but I'm sure I've seen you somewhere before.
Françoise: Maybe you have.

Henri: Don't you find that elevator doors in America close too fast?

Françoise: I had a role as a deaf-mute.
Henri: Oh, I see.
Françoise: I've played blind and crippled roles, too.
Henri: You've had a varied repertoire, eh?
Françoise: You have to.

Patricia: What are you saying?
Henri: [in French] That I love girls who don't wear bras.
Patricia: Um. I don't understand.

Le metteur en scène: Cut! Let's print that, but let's get another one. Come a little closer and make the kiss a little hotter. It'll be the hottest incestuous kiss of the century, Françoise.

Henri: You're a woman who's always afraid. I saw you on the plane and you were afraid. And when you took a cab, you were afraid. And coming here, you were afraid.
Françoise: You don't like that?
Henri: To the contrary. Fear is very feminine.

Françoise: I told him I suddenly had a desire to travel. I don't like stories that begin with lies.

Françoise: You're a charming faker, eh?
Henri: That's right.

Françoise: So you've seen Las Vegas and its attractive women.
Henri: Would you have preferred San Francisco?
Françoise: No. I'm happy. It's the ideal setting for the end of a story - that never really began.

Henri: Do you cheat on him often?
Françoise: Whenever I find a man I like. And that's very rare.

Henri: And now, if I were to rape you, would you call for help?
Françoise: Yes, if you weren't by yourself.

Henri: Tell me, how come I never saw you before?
Françoise: I don't know. Where were you? I was there.

Henri: When I go to the ballet, I always pick out a ballerina and then look only at her. I don't see anyone else but her.
Françoise: Oh, that's very good. And when you're with your wife, what does she say?
Henri: Oh, I don't tell her.

Françoise: Do you like Las Vegas?
Henri: Oh, no. It's old-fashioned. Too many feathers.
Françoise: So why did we come here?
Henri: To make love.

Henri: [driving midday thorough Monument Valley, both Henry and Françoise are naked] So, I'm going to stop because I have some ideas.

Françoise: You're totally immoral. I knew you were a liar and a trickster, but not to that point. And why do you lie all the time?
Henri: Because there's nothing more beautiful than a lie. And when the construction of a lie is built on another lie, it becomes as beautiful as the pyramids.

Henri: Look at the map, because I think we've gotten lost.
Françoise: You know, me and maps - that's the surest way of going wrong.

Françoise: You've really got a naughty mind.

Françoise: It's fine not having maps, but let's not get off the main road, eh?
Henri: Bourgeoise.
Françoise: You don't know how to say anything else. Besides, what is a bourgeoise? What is a bourgeoise woman?
Henri: A woman who's afraid to go naked.
[Françoise removes her shirt]
Henri: All right, fine. You see, you're worse than a bourgeoise, because when you're naked, you cover your tits with your hands.

Françoise: I'm very happy. More and more afraid, although I'm happy. What are we going to do?
Henri: You know, it's always like this. People meet ten years too soon or ten years too late.

Henri: This film is too awful. Why don't we go?
Françoise: Shall we go?
Henri: Somewhere else? Want to go somewhere? Really? Come on, let's go.
Françoise: Right away?
Henri: Right away. Right away or now?
Françoise: Immediately.

Henri: [Françoise smiles] What's going on?
Françoise: I was thinking about the face we made last night when we saw the bed and the mirror.

Françoise: Why did you leave your first wife?
Henri: Because of the second.

Françoise: Do you know that this is our fifth bed?
Henri: Hey, where are the cigars?
Françoise: Uh, in the little valise. No, I'm wrong. It's our fourth bed.
Henri: No, you're right. It's the fifth. You forgot the car.

Henri: You know, you're very pretty.
La femme d'Henri: You've done something that needs pardoning. But anyway, Americans aren't your type.
Henri: Ah. What's my type?
La femme d'Henri: Italian women.

Henri: You shouldn't have made this film. All your characters are uninteresting. They're rich, larger than life. They have beautiful cars, go to fancy hotels, travel anywhere for no reason at all. Who's interested in that, huh?

Françoise: What do we do now?
Le mari de Françoise: What do we do now?

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