È simpatico, ma gli romperei il muso

Special. A clear and precise Claude Sautet film. A story of love and jealousy and addiction and friendship. Beautiful acting.

Each definition works in same measure , being correct but hiding a significant part of a very simple story about two men loving, in different way, a woman.

Seduced, long time ago , by Romy Schneider, I am tempted to define Cesar and Rosalie as her film. But the jealousy of Cesar expressions, so nice translated by Yves Montand, the house of childhood and the sea, the new meeting between Rolie and David and Cesar on the beach , the powerful last scene are proves about a film who can not be defined in easy manner. Because it is a solid - gentle portrait of a relation ambiguous but so clear . And because the gift of Claude Sautet proposes the fair definitions who can be only feel.

I saw "Cesar and Rosalie" at the Jerusalem Cinematheque. I had only seen Claude Sautet's later movies (which I loved), and was unsure what to expect. The cinema was packed full of people, and some of the older members of the audience were laughing out loud almost immediately at Yves Montand's antics. I was a bit more restrained. But it didn't take long for me to find myself laughing as well. And not only me; it seemed like everyone there was in good spirits, young and old alike. Yves Montand's acting was incredible, Romy Schneider is terribly desirable, and the film just floated along. Definitely worth seeing, both if you're a Claude Sautet fan or if you want a charming movie about the interesting relationship which develops between the movie's three protagonists.

I was amazed from this film! Not only because I usually like Yves Montand and Romy Schneider, but because above all this is a film about human feelings and reactions.

Claude Sautet's works are not intellectual movies, but they have the quality of showing people in real life, with their strength and their weakness, we can find people who laugh and cry. They are films about life, there isn't necessarily an happy ending. (In Hollywood they're not able to talk to us about REAL persons.) Simple, isn't it? A director normally shows life, you may say. But in reality I don't think it's so easy. The risk is to talk about people with exaggerations and melodramatic elements. In movies like "César et Rosalie" we find common situations, people with whom we can identify and share feelings.

Here we have a woman who can't choose between two men... (Ingmar Bergman has another approach, in choosing psychological and darker aspects of people. It's another valid method.) I chose to comment this film because it's an example of intimate cinema, a way of telling stories which talk to hearts.

'Cesar et Rosalie', the title of the 1972 movie by French film director Claude Sautet, can easily be misleading. It is not a simple love story, or rather it is not a single love story, but two. In other words, it is the story of a love triangle, in which a woman is loved by two men, and returns love to both of them. The situation seems awkward and could be the subject of a passional film about jealousy with the potential to end tragically, or it could be a pretext for a wild comedy. I confess that I know very little about Claude Sautet, the film's director and co-writer. If my memory serves me well, this is his first film I've ever seen. His merit here is to have written a sensitive and intelligent story and to have chosen and led a formidable team of actors with the help of which he made a film that withstands the test of the almost half century that passed from production.

Rosalie (Romy Schneider) is newly divorced taking care of her little daughter. Cesar (Yves Montand), her boyfriend, is much older than her, but he is rich, charismatic, and full of self-confidence, at least until the appearance of David (Sami Frey), Rosalie's first love from the time just before her marriage. The two men love Rosalie, each of them in his own way, very different from each other. Rosalie hesitates as she cannot decide between the younger man who has left abandoned her years before and the older man who ensures her safety and who seems willing and able to do anything for her. Where will the romantic competition between the two lead? What will Rosalie decide? I will say, of course, nothing about the ending except that it is one of the few cases in which I do not agree with my favourite film critic, the late Roger Ebert, who criticised it quite severely. I really liked the open and surprising final. Today's feminists may be irritated for much of the film, but they will be rewarded in the end. In fact, a new movie could start here.

Yves Montand and Romy Schneider are fascinating, and it's hard to believe that it's been almost 50 years since this film was made and 3-4 decades since they've left this world. Sami Frey completes this triangle that draws the kind of plot that was very fashionable during the French New Wave, but which is described here with the methods of classic French cinema based largely on text and the charm and talent of the actors. Claude Sautet knew how to direct his actors and leave them enough freedom to get the best of them. The cinematography, the music, the natural and urban scenery are no more than effective, serving the plot. An interesting extra detail, proof of Sautet's casting talent, is the appearance of a 19-year-old red-haired actress named Isabelle Huppert in a supporting role, one enough well defined and with enough presence on screen so that we can remember it - probably the first more consistent role of the future star in a feature movie. 'Cesar et Rosalie' is a beautiful and interesting film, which has withstood the test of time and is still worth watching or re-watching today.

Yet another object lesson in how to do relationships. Why is it the French find it so effortless to explore the Human Condition As Entertainment. Why is it they can deal so facilely with pain and heartbreak and still make us smile. Okay, it helps if you have a great leading man, a beautiful leading lady, plus a great writer and a great director but that's still not quite enough and what you really need is something in the water. Jean-Loup Dabadie is still under-appreciated as the multi-talent he is. He thinks nothing of adapting Foreign plays into French (Bill Gibson's 'Two For The See-Saw' became 'Deux pour la balancoir' at Dabadie's hand and was a great hit at the Theatre Montparnasse three or four seasons ago) turning out screenplays like this one and even writing lyrics (he wrote 'Valentin' for Montand's son and in so doing gave Montand a late hit). Here he contributes a virtually perfect screenplay on our old friend the Eternal Triangle theme. This film is so perfect that you get the feeling that on the first day of shooting the Good Fairy turned up on the set and waved her Magic wand blessing the entire project. Love, Desire, Pain, Laughter, if you don't get enough of those at home pull up a chair, slip in the DVD/video and sup your fill. You won't regret a moment of it.