I found it too long and partly really boring. I think it had too many layers of action, i couldnt really concentrate what was the main story. The relationship between D and D - very uninteresting until the end, but then it remains open. I don't know...too sophisticated messy for me.The last 20 minutes were more alert and more unitary. And finally, after 2 hours of nothing substancial, open end and no real conclusion.
Deneuve et sa froideur intimidante auront eu raison du supplément d'âme que l'on distingue habituellement chez Truffaut. Le théâtre n'est pas l'abri où l'on souffle mais le terrain de batailles internes en tout genre (censure, amour, argent) qui deviennent éprouvantes pour le spectateur, essoufflé dès le début de la seconde partie. Depardieu en ressort toutefois sans égratignure grâce à sa justesse enivrante
The fact that it credits Truffaut as the person in charge of the mise en scene rather than the direction should tell you a lot about what kind of film this is. Despite its very un-cinematic nature I found myself engaged by the theatricality of it. The plot and characters were also well realised though I found the critic to be a bit uncertain in his morality. The film cant quite decide if it should humanize him or not
Truffaut really does pull phenomenal colors with this exquisitely paced film. It reads like a novel on screen, its understated nature allowing the viewer to be engulfed by the simplicity of the narrative. It might not be the suspense-thriller-esque film most would expect by reading a synopsis, and it didn't have to be. Ultimately it goes to show that there were other relevant stories during Nazi occupied France.
Altro saggio di bravura di quell'autore meraviglioso che era Francois Truffaut.Il bello di queste pellicole è che la storia ad un certo punto passa quasi sempre in secondo piano perchè si è totalmente rapiti dall'eleganza e dalla bellezza della messa in scena.Qui il rosso predominante(di bergmaniana memoria)è magnifico,e colora di ardore e passione la storia ed i suoi personaggi.Grandiose le scene nel sotterraneo.4*
'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