Gli amanti

As a twenty-something, I saw this film with my boyfriend of the time, and as soon as it was over, we rushed home to do it ourselves. In the early-to-mid sixties, "Les Amants" was eroticism that was certainly explicit--albeit tastefully explicit, to our naive eyes. Made when Malle was twenty-five, with the young Jeanne Moreau, to the romantic Sextette that Brahams wrote when he was 27, this was the perfect sexy romance for its time and place.

I just saw it again, now watching as a sixty-something in an age in which "Les Amants" would probably get an R rating--and a tame one. I'm jaded too. It's hard to feel much sympathy for a desperate housewife of the upper middle class as she battles ennui. But the love sequence is still a knockout. You can't stop to think about it as the lovers, who as yet barely know each other except for their terrific physical attraction, go from garden-to-boat- to bedroom; it's still erotic in its implication. the garden is too lovely to be true, the boat is white and clean, and Moreau wears her pearl necklace throughout, but the message of a woman who has only known pedestrian sex being introduced for the first time to the Real Thing rang a bell with me (I had a similar experience, minus the garden, the pearls and the boat). I sat there bawling my head off-- with nostalgia this time for an unrecoverable experience-- through the whole sequence.

But the ending also rings true. What do you do when you come up for air?

From one of the interviews on the CD, I learned that the plot was based on an 18th century story, and I can readily see that, just as could see the fin-de-siècle Viennese origin of Kubrick's "Eyes Wide Shut." In neither case does the contemporary updating of the tales make them any less effective.

Crazy about French movies ever since I started watching them. The black and white is more appropriate than colour for French film, very captivating and unreal.

What can you say about the French people? Desperados and aficionados of romance and love. Hopelessly romantics.

Simple story told like a poem regardless of any moral criticism, there is no such thing call moral or immoral in the realm of art. Art is a rival to morality, it allows all sorts of existences. In this movie, the sin is adultery but no one cares to condemn it, the pursuit of love takes it all. The love scene might be stunning to the audience in late 50s France, but definitely not today. Jeanne Moreau somehow took a bold step. Anyway, she is radiating gloriously in superb cinematography.

Jeanne Tournier married to a well-off provincial newspaper owner for eight years. She has a daughter, a polo-playing lover and a big bunch of acid-tongued snobbish Parisian friends. Nevertheless, she is bored about living in such a polite society. Finally when Bernard, a young student whom she has known just for a few hours, enters into her life, just after solely one night's time in her husband's villa with him, she decides to leave with him into the uncertain future the very next morning.

Several lyrical scenes impress me a great deal. Their nightly accidental encounter at the garden. Jeanne is illuminating the dimness, she looks like a mystic fairy seducing Bernard. Another one is the astonishing look of her friend when she sees them leaving together. The most memorable is the very last scene, they drive and drive into the unknown, unexplored.

The map shown at the beginning and the voice-over at the end may be something like a warning. However, when two lovers in love that they can sacrifice everything for the romance in such a desperate fashion, nothing is threatening. Feminists or women who are fighting for their freedom would be clapping their hands she's got guts.

In 1959 this film was considered as something close to porno, but this is far enough from the reality. Jeanne Moreau was young, nice and attractive. She was the star of this film, which goes slowly as usual in French cinema's style. When you see this type of film you must become a psychologist to penetrate inside the brains of each hero and make some conclusions. Accordingly I concluded that life is not a straight line, suddenly something may happen in our lives that deviate completely this straight line. Formal ethics accepted by the society goes sometimes to extremes that does not enable the persons to behave and feel happy. What's wrong when the current life is disrupted to start a new one? At this point I advise you to see this old, and black and white film, which may compel you to think and to conclude something new, probably different to what I am saying here.

The bored and empty upper-class Jeanne Tournier (Jeanne Moreau) lives in a manor with many servants in the countryside of Dijon with her husband Henri Tournier (Alain Cuny) and their daughter Catherine. Henri is the editor of The Burgundy Monitor and has been married to Jeanne for eight years, but he does not give much attention to his wife. Jeanne travels frequently to the house of her childhood friend Maggy Thiebaut-Leroy (Judith Magre) in Paris to meet her lover, the famous polo player Raoul Flores (José Villalonga).

One day, Henri suspects of the frequent trips of Jeanne to Paris and invites Maggy and Raoul Flores to have dinner and spend the weekend in his mansion. While driving back home from Paris, Jeanne car breaks down and the archaeologist Bernard Dubois-Lambert (Jean-Marc Bory) that is going to Montbard to visit a professor, gives a ride to Jeanne. Henri invites Bernard to stay with them and during the night, he has a love affair with Jeanne. On the next morning, Jeanne decides to go away from Henri, Catherine and Raoul with her new lover.

"Les Amants" is the second film of Louis Malle and I can imagine the impact of this amoral story in 1958, with a mother leaving her daughter to seek true love with her younger lover. The muse of many filmmakers Jeanne Moreau is gorgeous and sensual in the role of a woman ahead her time needy for love and happiness. The cinematography in black and white is wonderful and the open conclusion fits perfectly to this sensual film. My vote is seven.

Title (Brazil): "Os Amantes" ("The Lovers")

Jeanne Tournier is a bored middle-aged woman. She lives in comfort with her wealthy husband, children and small army of maids and servants but yet she is not happy. Her husband is distant and spiteful while her relationship with a polo-playing lover has become stale and tiresome. Returning from one of her many "trips to Paris", Jeanne's car breaks down and she is helped by a young student who takes her back to her home where he is invited to join the Tournier's and their guests for dinner. He stays the night and quickly starts to peal away the layers of frustration and offer her something else if she is brave enough to take it.

Although it probably says more about America than the shock value of this film, the fact that this was legally classed as "not pornography" brought it a success that continues to this day and was the main reason I decided to join those who had seen it by seeing it. From a content point of view I must admit that I found it hard to get into Jeanne as a character because the film did sort of expect us to accept her adultery and sex as part of her escaping and growing in some way – a thing that will not always be true, sometime people just cheat and there is no reason for it other than the most basic. However, unless this really bothers you, there is still much to enjoy in the character if not totally in the story. The plot is basic but the writing and delivery allows for enough to engage although, as I said, it may annoy as much as please, it depends on your point of view.

Like her character or not, Moreau is certainly powerful and assured in her performance and she seems to really understand the complexities of her character – never judging or excusing anything to a point where it would be overdone. Her body language is as convincing as her dialogue and she is really a good reason for watching the film – hell, she almost makes you believe her character's reasoning and have sympathy for her (almost). The support cast are all good with similarly natural performances from Bory, Magre, de Villalonga and others; however the film belongs to Moreau in terms of performances. The other main reason for watching is the crisp and stylish direction from Malle and the wonderful black and white photography. Although it has long lost its shock value today, the love scene is pretty strong stuff considering the period.

Overall this will not appeal to the masses because it is pretty slow and is all about complex inner issues that do not lend themselves to clear plotting, easy answers or pace. This is not to say that it can cope with these problems well, because it doesn't totally manage it and it does come off a little "up itself" in how it presents some of the issues but the direction, cinematography and acting all make it worth seeing, meanwhile the material will engage whether you are annoyed by it or sympathise with it.