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4 of 4 people found the following review helpful:
4.0 out of 5 stars
A satisying movie of choices and adult feelings, 15 Aug 2007
This is a first-class romantic, suspensful and humane movie. The Germans have occupied Paris and there are informers everywhere. Marion Steiner (Catherine Deneuve), a famous actress, has taken over the management of the theater her husband, Lucas Steiner, an equally famous director, has left. Steiner is a Jew and disappeared shortly after the Germans took over. For the next production Marion Steiner hires a young actor, Bernard Granger (Gerard Depardieu), who loves women and who gradually comes to love Marion.
There are secrets everywhere. Lucas Steiner is hiding and living in the basement of the theater, protected by his wife. He directs the new play through notes to his wife and discussions in the late evening when she visits him. Granger is an member of the resistance who could bring disaster to the theater if he is caught. Marion Steiner is devoted to her husband, but feelings for Granger slowly begin to appear, and are not unnoticed by her husband. All the while life in Paris under the Nazis goes on, the play is prepared and rehearsed, Jewish members of the company are protected or caught or flee. An odious, collaborating journalist and theater reviewer uses his contacts and influence to try to arrange a relationship with Marion. Eventually Bernard leaves the theater for active fighting.
This is something of a romantic movie of choices. At the end of the movie, the Germans are fleeing Paris. Bernard has returned and a new play starring Marion and Bernard is a great success. Lucas is spotted by the audience at the rear of a box and they stand to applaud him. Bernard and Marion bring him to the stage to join them in receiving the ovation for the play. Then Marion moves between the two men, holds their hands, and the three of them stand smiling while the applause roars on. And that's the end. This is, in my view, a very satisfying movie of theater life, of the occupation, and of three people who manage to find their way.
I think the DVD looks great, with many of the scenes having a dark, warm look about them.
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11 of 12 people found the following review helpful:
5.0 out of 5 stars
Truffaut at his best, 12 Jan 2003
This is one of Truffaut's best films. In his usual gentle and subtle style he tells the story of a theatre and the people working and living in it during WWII - and what an incredible cast he had. Catherine Deneuve - there is no one who had fit better the role of Marion Steiner. It's amazing how much she expresses by saying nothing. Gerard Depardieu - as the young, ambitious actor involved with the Resistance. The two have a very unique chemistry! It is a beautiful movie - and definitely a must see!!
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Probably Best Appreciated by the No Longer Young, 23 Nov 2009
"The Last Metro" (1980), ("Le Dernier Metro"in the French), a dramatic romance with comic touches, was directed and co-written (with Suzanne Schiffman) by greatly esteemed modern French master filmmaker Francois Truffaut. It opens in 1942, in wartime France, in a Paris that has been occupied by German troops, where the French are mainly just trying to hang on, find food to eat and clothes to wear, and live something resembling their normal lives, while in the hands of the enemy.
It centers on Marion Steiner, an uncannily beautiful actress, as played by Catherine Deneuve(Belle de Jour - 40th Anniversary [1967] [DVD]; The Umbrellas Of Cherbourg [DVD] [1964]). We are told that she was initially a film actress, but now stars regularly at the Theater Montmartre, which was previously owned by her Jewish husband Lucas, played by the ruggedly handsome German actor Heinz Bennent ("The Lost Honour of Katharine Blum"). Lucas was also previously always her director; but he now, supposedly, has fled the Nazis. However, he is actually hidden in the theater's basement, where Marion must feed, comfort and care for him, while continuing to be the theater's star actress; she also must run the theater's business, as he used to do. The third major character in this ensemble picture is the womanizing young actor Bernard Granger, secretly in the Resistance, played by a younger, magnetic, almost handsome Gerard Depardieu (Green Card [DVD] [1991]; The Return Of Martin Guerre [1982] [DVD]). He's been hired away from the Grand Guignol to star opposite her in the theater's latest production, "Disappearance," written by and secretly directed from the cellar by, her husband Lucas. The financial future of the theater depends on the success of this production. A handsome Jean Poirot (Les Carabiniers [DVD] [1964] [Region 1] [US Import] [NTSC]) plays Jean-Loop Cottins, a theater employee who has supposedly stepped in to direct their play. The film received an Oscar nomination, several Golden Globes nominations, and many Cesars (the French Oscar equivalent.)
So it's a film about theater people, struggling to keep their theater alive. There are those who think Truffaut simply used the popular old "let's put on a show, kids," genre as a vehicle to tell his tale about life in occupied Paris: the director was born in 1932, was therefore ten years old at the Occupation - the age of a little boy who features in the story -- and surely had clear memories and first-hand experience of life then. In addition, it is one of the director's last films, and he may have expected it would be his last; his final chance to tell the tales closest to his heart. Others consider it a failing that Truffaut, once at the cutting edge of the new wave ("Nouvelle vague") in French cinema, should have returned to a relatively traditional French format, with beginning, middle and end, and echoes of Marcel Carne, and Jean-Pierre Melville, among his other forebears in French cinema.
It is a wartime love story, and can be considered as a romantic comedy such as was made by these previous directors, a love triangle that plays out as a mature "Casablanca," in fact. It's beautifully filmed, and Truffaut and his cinematographer give you an acute sense of the claustrophobia all the characters, but most particularly Lucas, trapped in his cellar, must have felt under the Occupation. The filmmakers were also influenced by the muted sepia colors that remind us of that time; costumes and the - inexpensive--sets (it was not an expensive film) are muted in color, and, in fact, Truffaut used a less color-saturated film than he usually did in its making. Then there are those, such as my husband, who complain that it's not the film they wanted to see; something more overtly dramatic, more firing squads, etc.; nope, it's the film Truffaut wanted to make. The acting, by the three principals and the supporting players, is superb; and, for once, the astonishingly beautiful Deneuve's perceived coldness works in the movie's favor.
"The Last Metro?" It was the last subway train that could get the city's working commuters home before the curfew imposed on them: to miss it meant an uncomfortable, or possibly dangerous, night out. The well-known French actor Jean Marais, whose real-life thrashing of the pro-Nazi "Je Suis Partout" theater critic Alain Labreaux inspired a scene in the movie, has said that that train was packed with theater people, ` le tout Paris.' The `show must go on' axiom is certainly central to the movie, and the theater, whether physically in the one particular building, or in the abstract, is the most important unaccredited character in the script. The movie is often considered Truffaut's valentine to the theater; however, I myself consider it a somewhat tart valentine. It's not unusual for co-stars, whether in theater or film, to fall in love, as happens here, and Lucas, trapped in his cellar, probably can't prevent it. But he is complaisant: he wants that feeling between the costars in the play in current production, and in the next one he's working on, too. A bitter-sweet French movie, about love for the no longer young, probably best appreciated by the no longer young. And I do love it.
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