La maman et la putain
- 1973
- 12 avec avertissement
- 3h 37min
NOTE IMDb
7,7/10
7 k
MA NOTE
Dans le paysage intellectuel parisien d'après 1968, le chauvin Alexandre entretient des relations avec plusieurs femmes.Dans le paysage intellectuel parisien d'après 1968, le chauvin Alexandre entretient des relations avec plusieurs femmes.Dans le paysage intellectuel parisien d'après 1968, le chauvin Alexandre entretient des relations avec plusieurs femmes.
- Récompenses
- 3 victoires et 1 nomination au total
Jean-Claude Biette
- Un homme aux Deux Magots
- (non crédité)
Jean Douchet
- Un homme au Café de Flore
- (non crédité)
Bernard Eisenschitz
- Maurice
- (non crédité)
Jean Eustache
- Le mari de Gilberte
- (non crédité)
- …
Noël Simsolo
- Un homme au Café de Flore
- (non crédité)
Histoire
Le saviez-vous
- AnecdotesThis film is based on the real-life relationship between director Jean Eustache and actress Francoise Lebrun (who plays Veronika). The character based on her is named Gilberte in the movie and is played by Isabelle Weingarten.
- GaffesAlexandre can be seen drinking a bottle of 1970 Gevrey-Chambertin, which would have been far too expensive for him to have purchased. This error is illuminated by his notable lack of money during the cafe scene, in which his date pays for his bill.
- ConnexionsFeatured in The Story of Film: An Odyssey: European New Wave (2011)
- Bandes originalesIch weiß, es wird einmal ein Wunder gescheh'n
Written by Bruno Balz, Michael Jary and Ralph Benatzky
Performed by Zarah Leander
Commentaire à la une
It is not an easy film to watch - it is over three and a half hours long and it is composed entirely of conversations. Yet it is so incredibly compelling and ruthlessly observational of the human character, that it is, in my humble opinion, one of the very greatest films of all time.
The film is depressing, cynical and cruel. (If you want something uplifting, see Jacques Rivette's fantastic Céline and Julie Go Boating, which was made around the same time). It shows the idealism of the late 1960s to be nothing different from the society that it was trying to change.
It involves a supposedly liberated ménage-à-trois between Alexandre (played by Jean-Pierre Leaud), Marie (Bernadette Lafont) and Veronika (Francoise Lebrun). Yet Alexandre is shown to be as chauvinistic and jealous as any other man. The women are exposed as being willingly subservient and defining their femininity through the male gaze.
The film is an extremely icy end to the highly revolutionary French New Wave. This movement was one of the most significant movements in film history and had a profound effect on cinema as we know it. Jean-Pierre Leaud was one of the key actors of the New Wave, having starred (among other films) in the influential Les Quatres Cent Coups (1959) by Francois Truffaut as a rebellious teenager. Director Jean Eustache is not as well known as other directors from the New Wave, but he should be.
There is no improvisation (unlike in John Cassavetes's similar films made in the US) and the dialogue comes from real-life conversations. The film is resonant with Eustache's personal experiences. For example, Francoise Lebrun was a former lover of Eustache. Eustache himself committed suicide in 1981 and the real-life person that the character Marie was based on, did too. The anger and bitterness all culminate in a harrowing monologue by Veronika delivered directly to the audience, breaking down the coldly objective nature of the rest of the film. This mesmerising, personal, and honest filmic statement remains one of the most revealing films of human nature around.
The film is depressing, cynical and cruel. (If you want something uplifting, see Jacques Rivette's fantastic Céline and Julie Go Boating, which was made around the same time). It shows the idealism of the late 1960s to be nothing different from the society that it was trying to change.
It involves a supposedly liberated ménage-à-trois between Alexandre (played by Jean-Pierre Leaud), Marie (Bernadette Lafont) and Veronika (Francoise Lebrun). Yet Alexandre is shown to be as chauvinistic and jealous as any other man. The women are exposed as being willingly subservient and defining their femininity through the male gaze.
The film is an extremely icy end to the highly revolutionary French New Wave. This movement was one of the most significant movements in film history and had a profound effect on cinema as we know it. Jean-Pierre Leaud was one of the key actors of the New Wave, having starred (among other films) in the influential Les Quatres Cent Coups (1959) by Francois Truffaut as a rebellious teenager. Director Jean Eustache is not as well known as other directors from the New Wave, but he should be.
There is no improvisation (unlike in John Cassavetes's similar films made in the US) and the dialogue comes from real-life conversations. The film is resonant with Eustache's personal experiences. For example, Francoise Lebrun was a former lover of Eustache. Eustache himself committed suicide in 1981 and the real-life person that the character Marie was based on, did too. The anger and bitterness all culminate in a harrowing monologue by Veronika delivered directly to the audience, breaking down the coldly objective nature of the rest of the film. This mesmerising, personal, and honest filmic statement remains one of the most revealing films of human nature around.
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- The Mother and the Whore
- Lieux de tournage
- Café Les Deux Magots - 6 place Saint-Germain-des-Prés, Paris 6, Paris, France(Alexandre's usual café)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 40 555 $US
- Week-end de sortie aux États-Unis et au Canada
- 5 135 $US
- 25 juin 2023
- Montant brut mondial
- 47 344 $US
- Durée3 heures 37 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.37 : 1
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What was the official certification given to La maman et la putain (1973) in Japan?
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