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L'amour, l'après-midi

Original title: L'amour l'après-midi
  • 1972
  • Tous publics
  • 1h 37m
IMDb RATING
7.6/10
10K
YOUR RATING
L'amour, l'après-midi (1972)
Watch Bande-annonce [OV]
Play trailer3:54
1 Video
73 Photos
Psychological DramaRomantic ComedyComedyDramaRomance

Though he has an adoring wife, a bourgeois man is still tempted to pursue other women.Though he has an adoring wife, a bourgeois man is still tempted to pursue other women.Though he has an adoring wife, a bourgeois man is still tempted to pursue other women.

  • Director
    • Éric Rohmer
  • Writer
    • Éric Rohmer
  • Stars
    • Bernard Verley
    • Zouzou
    • Françoise Verley
  • See production info at IMDbPro
  • IMDb RATING
    7.6/10
    10K
    YOUR RATING
    • Director
      • Éric Rohmer
    • Writer
      • Éric Rohmer
    • Stars
      • Bernard Verley
      • Zouzou
      • Françoise Verley
    • 34User reviews
    • 42Critic reviews
  • See production info at IMDbPro
    • Awards
      • 1 win total

    Videos1

    Bande-annonce [OV]
    Trailer 3:54
    Bande-annonce [OV]

    Photos73

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    Top cast23

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    Bernard Verley
    Bernard Verley
    • Frédéric
    Zouzou
    Zouzou
    • Chloé
    Françoise Verley
    • Hélène
    Daniel Ceccaldi
    Daniel Ceccaldi
    • Gérard
    Malvina Penne
    • Fabienne
    Elisabeth Ferrier
    • Martine
    • (as Babette Ferrier)
    Tina Michelino
    • The Passenger
    Jean-Louis Livi
    • The Colleague
    Pierre Nunzi
    • The Salesman
    Irène Skobline
    • The Saleslady
    Frédérique Hender
    • Mme. M.
    Claude-Jean Philippe
    • Mr. M.
    Silvia Badescu
    Silvia Badescu
    • The Female Student
    Claude Bertrand
    • The Male Student
    Sylvaine Charlet
    • The Landlady
    Daniele Malat
    • The Customer
    Suze Randall
    • The Au Pair
    Françoise Fabian
    Françoise Fabian
    • Dream Sequence
    • Director
      • Éric Rohmer
    • Writer
      • Éric Rohmer
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews34

    7.610K
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    Featured reviews

    9framptonhollis

    Compelling and Well Written

    "Chloe in the Afternoon" is the sixth and final work in Eric Rohmer's "Six Moral Tales" film series. While the film's story is quite simple (a married, bourgeois man encounters a woman named Chloe who he hasn't seen in years, and begins to have some sort of a love affair with her), the film's characters are not!

    All of the "Six Moral Tales" provide the viewer with a cast of excellent and memorable characters. Even if these characters aren't always the most likable (just look at the film "La collectionneuse"), they are always very interesting to watch. I believe that the characters in "Chloe in the Afternoon" may be the greatest characters in the "Six Moral Tales" series. Especially the character of Chloe, a very smart and likable character who offers a lot of the film's greatest and most interesting dialogue (great dialogue is another feature that is all over this film series).

    Another thing that I found highly impressive about the way her character was written was how she is given a clear back story, but, instead of her back story being forcefully told to the audience in detail all at once it is simply glanced over. It is perhaps the least forced back story given to a character in any other film that I've seen.

    The film also turns out to be the most emotional of the "Six Moral Tales", with a truly compelling ending sequence. You can tell that director Eric Rohmer's films really began to mature since the earliest of the "Moral Tales", the 1962 short film "The Bakery Girl of Monceau".

    While it isn't the best of the "Six Moral Tales", and it was kind of slow at times, it is a perfectly fitting ending to one of the greatest of all film series!
    8joaodelauraaurora

    Another good Rohmer about the intricacies of love

    No other director has exposed, analyzed and interpreted love relations as profoundly and as maturely as Eric Rohmer. His cycles `Six Moral Tales' and `Comedies and Proverbs', based on his own screenplays, are the best examples of how cinema can be at the same time `talkative', philosophic and incredibly effective. Rohmer's movies prove that cinema can fully explore love without being melodramatic, naive or predictable. `Chloe in the Afternoon' (`L'amour l'après midi') is the sixth and the last of his moral tales and tells the story of Frédéric, a married lawyer who loves his wife but feels tempted to have an affair with seductive Chloe, a friend of old times who reenters his now bourgeois life. As in the case of many of his other films, Rohmer's screenplay is in itself worth-reading, with intelligent dialogues and interesting ups and downs in the love triangle, but his directing of the three actors, emphasizing their ambiguities (Frédéric's principles and impulses; Hélène's apparent self-assurance and hidden anguish; Chloe's solitude and tricks), is also very impressive. `Chloe in the Afternoon' is a good reflection on the dilemmas of monogamy and the traps of possessiveness. One more to the admirable list of Rohmer's movies about love (8/10).
    taylor9885

    Yes, but...

    TFO, a French-language network, has been showing the Contes moraux for the last few weeks, and the strengths and weaknesses of Rohmer's approach are easy to see. When he has fine, committed actors like Francoise Fabian and Jean-Louis Trintignant in Ma nuit chez Maud, he can create a flow and vibrancy in the story-telling that make us forget the didacticism of the script (who cares about Jansenism and Blaise Pascal, anyway?).

    Where he fails is in not being able to create three-dimensional characters, or not being able to coax a good performance from an actor. The glaring example of this is Brialy in Le genou de Claire who, wearing a thick beard, seems to sleep-walk through his part: his erotic obsession with a girl's lissome kneecap never comes to life. In the film in question today, Bernard Verley has a bland, pudding-like face that hardly provokes any interest in the viewer. How can such a pallid bourgeois be appealing to a bohemian girl like her?

    Francoise Verley as the wife has all the best moments; certainly the final scene is more interesting than what went before. She is not a beautiful woman, but her quiet strength and natural acting style are very convincing. Zouzou does not have the underlying restless energy and fierce sexuality you would expect in a girl who drifts from man to man, and her acting skills are minimal. All in all, a good film when concentrating on the family dynamics, but those scenes at the office between Verley and Zouzou are often tiresome.
    8LeRoyMarko

    Moral 101

    Great film by Rohmer. Another one that puts moral dilemma to the "grand jour". Emotions, feelings, passion, love: those are the ingredients so dearly associated to Rohmer. He explores human fallibility by telling us the story of Frédéric (Bernard Verley). He's married to Hélène (Françoise Verley), but along the way comes Chloé (Zouzou). Will he let go to temptation?

    Like other movies from Rohmer, "L'Amour l'après-midi" is presented like a book. It's a great combination of cinematic and literary experience.

    Out of 100, I give it 84. That's good for *** out of ****.

    Seen at home, in Toronto, on November 18th, 2002.
    rcantabile

    How one man connects with female beauty

    Whether Frederic is on the train, at home with his wife, or trying to figure out how he'll handle the ravishing Chloe from his past life, he seems to truly appreciate the beauty that surrounds him and he wrestles with how to respond.

    I was particularly taken with the scene on the train when Frederic begins to explain how he is able to remain under control in the presence of so many beautiful women in the world. Simply acknowledging such beautiful creatures seems to be enough for this man, yet when Chloe arrives on the scene we begin to wonder if Frederic will fold under pressure.

    I can surely identify with what Frederic feels on the train. It happens to all of us -- we are faced with beauty, and we must respond. How we respond is what makes life worth living.

    Storyline

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    Did you know

    Edit
    • Trivia
      This film is part of the Criterion Collection, spine #348.
    • Goofs
      At approximately 1:16 in the film, Chloe opens the store door wearing red shoes matching her dress. In the following scene, she walks down a staircase wearing black shoes which match her stockings.
    • Quotes

      Frédéric: [voice over] That's why I love the city. People come into view, then vanish. You don't see them grow old. What makes the streets of Paris so fascinating is the constant yet fleeting presence of women whom I'm almost certain never to see again. It's enough that they're there, indifferent, conscious of their charm, happy to test its affect on me, as I test mine on them, by tacit agreement, without even the subtlest smile or glance. I feel their seductive power without giving in to it. This doesn't estrange me from Hélène. Far from it. I tell myself these passing beauties are simply an extension of my wife's beauty. They enrich her beauty and receive some of hers in return. She's the guarantee of the world's beauty and vice versa. When I embrace Hélène, I embrace all women.

    • Connections
      Follows La boulangère de Monceau (1963)

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    FAQ17

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    Details

    Edit
    • Release date
      • September 1, 1972 (France)
    • Country of origin
      • France
    • Language
      • French
    • Also known as
      • Six Contes Moraux VI: L'amour l'après-midi
    • Filming locations
      • Paris, France
    • Production company
      • Les Films du Losange
    • See more company credits at IMDbPro

    Box office

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    • Gross worldwide
      • $3,520
    See detailed box office info on IMDbPro

    Tech specs

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    • Runtime
      • 1h 37m(97 min)
    • Sound mix
      • Mono
    • Aspect ratio
      • 1.37 : 1

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