La femme d'à côté

An outstanding love story, with an astonishing, riveting performance from Fanny Ardant. My own love affair with Truffaut began as a teenager when I first saw "Jules and Jim." But "La femme d'a cote" moved me most directly and most powerfully of all his great work. Is love "toujours triste"? No, not always sad; now that I'm in my forties, I'm much less a romantic. And love may be of many varieties. But deep romantic love, I do believe, rarely appears on screen as honestly portrayed as here. "The Woman Next Door" presents us with the power, the physical impact of love, the way it "takes our breath" away and so much more. Truffaut so often focuses on love, and usually more positively and in a greater variety of ways than other great directors. But if you want funny, fresh young love, see Truffaut's "Soft Skin" or even "Don't Shoot the Piano Player. His films which are more about infatuation versus love, i.e., the original (Truffaut's film, not the American one with Bert Reynolds) "The Man Who Loved Women" or even the Hitchcock tribute "The Bride Wore Black" while "darker" in tone -- all these remain quite funny, generally light in tone, and quite lively in pace and style. In "The Woman Next Door," more tragic, melancholic moments appear -- it's more akin to the highly autobiographical "The 400 Blows," which tells of Truffaut's difficult adolescence. Yet it has its lighter moments, too. My own response was a strong interest in the drama, the suspense, and astonishment at the beauty of the story, the acting, and the many moments of cinematic genius. Truffaut did, personally, fall in love with Ardant, the lead actress here; they married, so just how much autobiography went into this tale and film -- I don't know. "Next Door" represents Truffaut in a mature phase of his life and career, one which shot off like a rocket and just kept climbing. Ardant went on to act well in many other films, even in several after Truffaut's death. In her starring role here, she made her debut to my acquaintance. She stunned me; I thought I knew Truffaut's work well enough -- after ten to twelve years of trying to see everything available by him, reading about him, and so forth. Yet this film knocked me out, all the same. Superb.

A young, almost boyish Gerard Depardieu stars in 'The Woman Next Door', one of Francois Truffaut's later films. In some ways, it's a stereotypically French affair, a stylish and urbane story of passionate love. But the film itself, though nicely observed, fails to really catch fire. One reason may be the fact that their isn't much in the way of character development, not because the characters are one-dimensional but because they are fully described in the premise, and change little thereafter. We are told that the central figures are in love, but know they could not live together, and what follows is merely the logical exposition of this. Another is that they themselves seem the biggest obstacles to their own happiness. Therefore, though the film is watchable throughout, as a whole it amounts to little more than a collection of its parts, rather than a great and profound tragedy. Other work by this director packed a greater punch.

The magic of movies are really present in here, otherwise how come a story that sounds so familiar to us looks very fresh, all brand new to your eyes and ears? François Truffaut makes of "La femme d'à Côté" ("The Woman Next Door"), an apparent clichéd love story, to have the enormous feel of being something complete unknown to us (Obvisouly the film has its moments of originality though).

Bernard (Gérard Depardieu) lives in a small community along with wife (Michèle Baumgartner) and his son, all is happy and well until the house next to his gets bought by the Bauchard (Henri Garcin and Fanny Ardant), a friendly couple, being Mathilde, the woman of the film's title, an old affair of Bernard. And you don't need to be a genius to guess that these two will start off again from the point where they stopped, after years without seeing each other. What is quite obvious as well is that the combination old flames on a new affair might have some tragic consequences for everybody involved.

In "La femme d'à Côté" Truffaut finally managed to balance the instabilities between the characters involved in a relationship, something that, at my view, was only noticed when we pay attention to the female characters like Catherine from "Jules et Jim" and the title character of "The Story of Adele H." in which only the women acted out of desperation, lost their sanity and went through hell with their love affairs. In this more original scenario the man is driven to the point of madness, completely alienated from everything, just thinking in living with his lover (even though, again, it's the woman who suffers more throughout the film). It is balanced since in the other classics the men didn't seem to care much for what was happening to the women (specially in "Adele H." the man was completely cold, ruthless towards the girl who at one time was the love of his life).

And who narrates Bernard and Mathilde's story? An old lady named Madame Odile (nicely played by Véronique Silver), a handicapped woman who survived a suicide attempt by jumping from a building right after being rejected by the man she loved (You can take your conclusions from here). Her story is perfectly connected with the main story of the film.

The way the story swings from a soft comedy, quite gentle in its pace, from a romantic film to a complex drama, all these changes were greatly presented, the variations work because we have a director that really knows how to perform them. But this film doesn't go without some problems, there's some difficult things to accept and see (like when Bernard can't hold any longer his anguish and decides, in front of everybody during a party to show his love for Mathilde in the most dreadful way, a real scandal) as things happening in reality (and most of the film looks realistic so why this created situations in which people couldn't relate with it?). Small problems, nothing so distractive or ruining, neither something that deserves a negative review (the two bad ones featured on the site are amazingly incoherent, illogical, and ridiculous just to say a few words about them).

If the story isn't good enough to make you watch this film, at least go for the director and the actors involved with it, Ardant and Depardieu on their greatest level of acting playing what could be a perfect couple if it wasn't for their complicated lives with their spouses. A special moment from them is their first kiss at the market's parking garage when the woman simply faints on him. Looks absurd but can be explained as something really powerful, all those emotions resurrecting, coming to life again. "What now?" or "Should we start all over again?". And that was only the beginning, going for a newer ending. This time for good. Neither with you or without you. 9/10

A pair of spinning magnets, correspondingly attract, then rotate a little further, universally detract, pulling one way for a while, as they slowly reconcile, then pushing, pushing, pushing, until both of them retract.

It's a can't live with you, can't live without you tale, but you've seen it many times before, as it's hoisted many sails, the difference this time round, is the lady is profound, a performance of some standing, lifts it right up off the ground - but apart from the adorable Fanny Ardant there isn't a lot else to get too excited about, although the rest of the ensemble perform their roles adequately and Gérard Depardieu is more than believable in his highly volatile moments.

Family man Gérard Depardieu is disturbed to learn his new neighbor is, by sheer coincidence, ex-lover Fanny Ardant. Both are happily married, but that doesn't stop them from resuming their affair, with tragic consequences.

The script is nothing new, but François Truffaut's intelligent treatment of the otherwise familiar story avoids the more obvious clichés of popular romantic fiction. It hardly ranks among the director's best efforts, but a pair of talented co-stars and the typically French pre-occupation with l'amour fou help maintain interest all the way to the startling conclusion.