Nous ne vieillirons pas ensemble (1972)
(We Won't Grow Old Together)
Country: FR/IT
Technical: Eastmancolor 110m
Director: Maurice Pialat
Cast: Jean Yanne, Marlène Jobert, Christine Fabréga
Synopsis:
The tempestuous relationship of a cameraman and his wife, who has prolonged absences for business.
Review:
Apparently based on Pialat's own marriage experiences, this is recognisably in the mould of the director's uncompromising film-making style (improvised scenes that are more bleeding chunks of life caught in the raw than dramatic entities). It is also recognisably a self-portrait, with Yanne's character irredeemably unpleasant and autocratic, and endowed with a considerably macho appreciation of female needs. If nothing else, it is a brave piece of film-making, and of dedicated acting.
(We Won't Grow Old Together)
Country: FR/IT
Technical: Eastmancolor 110m
Director: Maurice Pialat
Cast: Jean Yanne, Marlène Jobert, Christine Fabréga
Synopsis:
The tempestuous relationship of a cameraman and his wife, who has prolonged absences for business.
Review:
Apparently based on Pialat's own marriage experiences, this is recognisably in the mould of the director's uncompromising film-making style (improvised scenes that are more bleeding chunks of life caught in the raw than dramatic entities). It is also recognisably a self-portrait, with Yanne's character irredeemably unpleasant and autocratic, and endowed with a considerably macho appreciation of female needs. If nothing else, it is a brave piece of film-making, and of dedicated acting.
(We Won't Grow Old Together)
Country: FR/IT
Technical: Eastmancolor 110m
Director: Maurice Pialat
Cast: Jean Yanne, Marlène Jobert, Christine Fabréga
Synopsis:
The tempestuous relationship of a cameraman and his wife, who has prolonged absences for business.
Review:
Apparently based on Pialat's own marriage experiences, this is recognisably in the mould of the director's uncompromising film-making style (improvised scenes that are more bleeding chunks of life caught in the raw than dramatic entities). It is also recognisably a self-portrait, with Yanne's character irredeemably unpleasant and autocratic, and endowed with a considerably macho appreciation of female needs. If nothing else, it is a brave piece of film-making, and of dedicated acting.