If you go in with way different expectations the result is much more pleasurable; would definitely benefit from a second viewing for most people. A lot of my initial issues have already been listed but looking back at it it seems that's most only because I was looking at it from the wrong viewpoint throughout much of it.
Am I the only one that sees shades of Inglourious Basterds in this? Surely Tarantino drew inspiration from this, it'd be farfetched to say that he copied it because he didn't at all but drew inspiration - sure, Laurent looks a bit like Laurent, it's a theater instead of a cinema but the color palette and style is often the same even if this is far more withdrawn and doesn't really have a Brad Pitt scalping nazis.
A film about Paris under the Occupation that is slow,without drama and almost no character development.Plus,most glaring,an underused Gerard Depardieu. As if Truffaut thought celebrating theatre and Catherine Deneuve's beauty were enough. Not my favourite from the Great Truffaut.
'Le Dernier Métro' (1980) quietly evokes the underground as a place of refuge and relative safety in the fearful arena of occupied Paris in WWII. At the film's center is Catherine Deneuve in one of her great roles as the liaison between different worlds, aloof but struggling under tremendous strain. Read my full review: http://www.brnrd.net/blog/archive/2008/09/09/le-dernier-metro
Truffaut attempts to synthesize stories of illicit romance, Resistance intrigue, and high-stakes theatre politics, but gives his viewers just messy tediousness.
The mise-en-scene is lovely. Other than that, your average French WW2 drama that feels like a product of the pre-New Wave cinema of quality.
Making art in Nazi occupied France. You'd think this would be more absorbing than it is but the passions of these artists seem rather muted.
There were many wonderful moments, but one that stuck with me was the German officer who wouldn't let her hand go. The earnest and sick concern on his part, her spiraling need to escape, and the Nazi decor sprawled everywhere up to that point... for a moment there the film was *corrosive* and I felt a hint of what it must have been like to live in occupied France.
My first Truffaut film and one I am eager to see again, full of theatricality (literally and figuratively), love and a seamless method about it. It just flows like silk, and engages some important ideas in a way that is neither a sentimental whitewash nor a typical dark tragedy.