Digital. In 1972, in the midst of so many fracturing films from all the new waves around, these bourgeois films with bourgeois characters for a bourgeois public were, of course, the movies that we would least wanted to see. But realizing it now, and despite an unbearable Yves Montand, it's admirable how a "camera drama" is strictly made by the camera, without moralisms, using a precise, fast, cutting editing. (...)
An excellent and nuanced exploration of the male ego as mediated through the power of a strong female presence. A film that’s quite relevant in these times when we are deluged by macho posturing, and a movie that could only have been made in France in the 70s. What a treat to see a very young Isabelle Huppert in an early role. What a natural screen presence even then!
What are we doing here?....or more specifically, what is Claude Sautet doing here? One year later, and he has the same lead actress, once again in between two men. The plot isn’t as ridiculously absurd as Max and the Junkmen, but is barely a step up. Director needs to find a new bag.
Wonderful exploration of the traditional love triangle without any of the traditional endings. Love that initial auto crash with everyone suddenly stumbling around in a swamp of tall grass. Great metaphor for the relationship stumblings to follow. Terrific performances by everyone. Exceptional costuming, especially that powerful black suit jacket on Rosalie at the end. Sami Frey is gorgeously photogenic.
'I don't belong to you. You didn't buy me! You have no rights over me! No one does!'. What strikes me other than the male chauvinism in her tolerance to serve drinks, is that she is an exchangeable commodity positioned between two men who want to own her, and in that her love was bought with objects, and her willingness to exchange ownership, until she escaped the situation by becoming economically independent.
Sure Cesar et Rosalie has Romy Schneider and Yves Montand. And yes, they are both great in it. Sure this movie is about how love can make grown-ups crazy and infantile. But the dramatic tension doesn't feel real. Maybe it's just a French thing, and maybe I just don't get it.