Finalmente domenica!

i was up late, scamming for some reason to continue my slackful ways... i chanced upon this little gem, halfway through... i knew nothing about this work except it being from overseas...

i was hooked; entranced; captivated by the style, dialogue, pacing and FANNY... what a spark of life she was... beautiful and damaged...

well, i am stunned that this film is from 1983??? surely it's a mistake- 1963 perhaps? and i don't mean the fact it's B&W- this production style is long since passed... isn't it??

stunned also by these user reviews... they are professional-grade, i swear... as good as the movie, i think... something tells me i must watch much more truffaut... and FANNY...

Truffaut´s last film is a funny and smart thriller that feels very Hitchcock inspired.It´s entertaining but has no depth.The acting by Fanny Ardant is very funny and great.Also very beautifully shot in black & white and I think that François Truffaut was one of the best directors and he did some fantastic films.4/5

People might think i am mad to give 8. But somehow i liked the way the picture has been presented. Complexity in the relationship i think it has been subtly but strongly depicted. another good point is this movie took the suspense tempo so well till the end of (or nearer to the end)the movie. Forget about certain illogical sequences, how this could happen or what, but the most appreciable thing was the suspense was never broken till the last few scenes, the tempo was kept without losing it, romance bit was there to show how people are so blind sometimes, they miss the real love and run after beauty. Hey i liked it. Its good movie to make your mood lighter.

It is very difficult for us, those who admired and loved François Truffaut to judge the 1983 'Vivement Dimanche!' (the English title is 'Confidentially Yours' without taking into account the ruthless label that fate has attached to it: his last film! It's not Truffaut's best film or even his most original film. One of his first and best films, 'Shoot the Piano Player', had explored the film noir genre more than two decades before and used the same style of black and white cinematography with a predilection for night scenes. Truffaut's friendship and admiration for Alfred Hitchcock and his fascination with his art are well known. 'Vivement Dimanche!' it is also considered a tribute to him, but it is more than that. The director seems not only to quote from his master, but to borrow, analyse, dismantle and reconstruct some of his methods. I don't know if when he was filming 'Vivement Dimanche!' Truffaut knew about his illness or realised its severity, but it does not look at all like a testament film, on the contrary, it is a film that experiments with means of cinematic expression, taking over and respectfully continuing a tradition with which the director was very familiar. Perhaps because of this film, Truffaut's career gives the feeling that 'the film was interrupted in the middle of the screening' and that there was still so much to say.

'Vivement Dimanche!' it is one of those films from which viewers have a chance to remember isolated fragments and frames rather than the ensemble at some time after watching. No wonder, because thestory is extremely conventional, and has a lot of unlikely aspects. This is apparently a police intrigue, a mystery surrounding who is the perpetrator of a series of crimes, what Americans call a 'whodunit', but the director's attention is focused more on the relationship between the main suspect, a real estate agent played by Jean-Louis Trintignant and his secretary played by Fanny Ardant who undertakes the investigation that could prove his innocence while he is hiding. It is clear, however, that the director was more interested in the stylistic aspects and especially the reuse of some noir films from the 40s and 50s - the black and white cinematography, the phones, the raincoats, the close-ups with background contrasts. However, these are combined with some of Truffaut's recurring passions and themes - the cinema theatre that plays a significant role in the film (including the poster and the mentioning in a dialogue of a Stanley Kubrick film, which in perspective acquires the significance of passing of the torch), the theatre and especially the fascination for women that he shared with Hitchcock. The penultimate scene is exceptional and the master would have included it in his films, including the text, which is a kind of farewell, even if it is uttered by a murderer. "Everything I did was out of love for women." Adieu, François Truffaut.

As a brunette secretary, you're missing a ticked box, and now your job is drifting headlong into rocks, is your boss so homicidal, to kill his wife and her love idol, it's as perplexing as it is, a real flummox. You investigate and research what went down, it leads, to seedy places, around town, iniquities of noir, becomes increasingly bizarre, it's enough to make you scowl, glower and frown. It's not too long before your boss is apprehended, the police, are pretty sure, that he offended, can you get him off the hook, this older man you want to hug, as you desire to make him your future intended.

It's a more than satisfactory reproduction of an early 60s noir whodunit, but the shining light of Fanny Ardant consumes the darkness and casts a spell.