Julien Vercel (Jean-Louis Trintignant), an estate agent, is suspected of murdering his wife’s lover. All clues point to him especially when his wife is also found dead. As Vercel is hidden in his office, Barbara Becker (Fanny Ardant), his secretary, investigates these suspicious murders.
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Truffaut's final film is a delicious treat. Shot in glorious black + white, and made to look like a 1949 Film Noir, this is also an homage to cinema, complete with a trip to the cinema-house, where Kubrick's Paths of Glory is playing. Trintignant and Ardant are as perfect as any cinematic couple ever was. Classic Noir, classic Truffaut.
The French title translates to "Brisk Sunday!", and though we lost Truffaut way too soon, there's a certain poetic rhyme to how, like Hitchcock, he ended on a lark. It is a lively mystery, gobbling up a trail of breadcrumbs too fast to count but too delicious to reject. It is, most of all, a tribute to the magic of Fanny Ardant. If Truffaut was sent here to prefer cinema to life, there are worse ways to take a bow.
It's genuinely a "Whodunit" in an unconventional way of the genre and at the same time a Hollywood-style romantic comedy with iconography of a film noir! and finally--like many other Truffaut's films- it's about a man obsessed with women(the plot of the whole film unstitched in killer's last words ''women are magic and I became a magician'')
>>> Dernier film de François Truffaut avant sa pirouette dans l'au-delà et qui, pour cette fois-ci, mérite notre admiration et nos applaudissements. Pourtant il est maintenant grand temps de remettre l'oeuvre du metteur en scène à sa juste place, qui en toute objectivité est fort moyenne et largement surestimée... www.cinefiches.com