Tag Archives: Claude Sautet

Le fauve est lâché/aka The Tiger Attacks/ aka The Beast is Loose (Maurice Labro, France, 1959)

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le fauve est lache
The original poster

 

 

An efficient cop film, with touches of the spy thriller; not a masterpiece but a good and representative example of the genre in France, worth seeing today for the considerable pleasures it offers; and of historical interest because: it confirmed the stardom Lino Ventura had achieved the year previously in Le Gorille vous salue bien (Bernard Borderie, 1958); the screenplay is adapted and with dialogue by Frédéric Dard, one of the most famous and prolific crime writers of the last half of the twentieth century; the screenplay is also co-written by Claude Sautet who was also First Assistant Director on the film, and it is this meeting between Sautet and Ventura in Le fauve est lâché that would lead to Classe tous risques (1960) and L’arme à gauche (1966); and, on a more minor and perhaps personal note, it deploys Boris Vian’s great ‘Fais-moi mal Johnny’ in a scene where it evokes the associations you’d wish it to: rebellious youth in a slightly dangerous bohemian setting.

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Le fauve est lâché begins excitingly with an assassination. Important papers touching on national security are stolen, and the French Secret Services (DTS) arrive on the scene. As this is happening, Paul Lamiani (Lino Ventura), a former forger turned resistance hero and secret agent, now retired, is shown busily running his own bistro and blissfully ensconced in family life. Secret Services try to reel him back into his old life, ‘For France’. But it involves betraying an old comrade and Lamiani will have none of it; with a touch of Bogart’s Rick in Casablanca, he replies, ‘You keep your mind on France, I’ll take care of my bistro and nothing else’.

loving father at beginning
Exchanging national security for his son at the end.

The DTS, Direction de la surveillance du territoire, the French National Police operating as a domestic intelligence agency, won’t take no for an answer. They play dirty, plant some fake money in his mattress, and threaten to revoke his license and his family’s livelihood until he co-operates. Thus the film sets up a tension between male friendship, the family and national security. It’s a tension that is missing from many contemporary cop flicks or action movies and whose value is worth underlining: the action is always underpinned, motivated, given emotional resonance by weightier and more complex consideration. What’s important in life? What is the value of friendship? What is one willing to sacrifice for family and children? What is it to be a man in France in 1959?

Moving towards an action

As a ‘polar’, a cop flick, Le fauve est lâché has plenty of fight scenes, well-filmed and interesting to us because of the divide between what was considered exciting in 1959 and now. Could a simple punch up between two men with little cutting be exciting? Well, yes. Moreover, Labro lets us see a completed action: thus, when the squat if not quite podgy Ventura jumps down a cliff, you see him do it, and understand what it’s cost the character physically. To say that action is imbued with feeling in the film is not to deny the pleasure of the set-pieces, particularly the spectacular one shot outside the cliffs of Etretat and also the one within the cliffs, where Lamiani is imprisoned by barriers, surrounded by enemies, and with the high tide threatening to drown him. It looks extraordinary (see below) and generates suspense.

In Lino Ventura (Editions First: Paris, 2014), Phillipe Durant claims that Ventura had no confidence in Labro’s handling of the action sequences and that Claude Sautet, 1st Assistant Director as well as screenwriter on the film, took over the filming of the ‘falaises d’Etreta’ sequences: ‘With the star’s support, the assistant becomes director…With him the scenes achieve an intensity that Labro would no doubt have been unable to achieve….Thanks to Sautet, Le fauve est lâché, acquires a new dimension. Not that of a great work but at least that of an honest action film’.[1]

Ventura’s contract for the film had stipulated, amongst other things, not only a salary of 3 million francs, twice what he’d earned for Le Gorille vous salue bien, his first big hit in a starring role, but billing above the title: so he went into the film as it’s star. However, the success of the film confirmed that stardom. Le fauve est lâché was a box office hit. Budgeted at a modest 82 million francs, it did almost as well as Le Gorille vous salue bien with 2.1 million tickets sold and better than Le Valse du Gorille, the sequel to Le Gorille vous salue bien, which Ventura had turned down amidst fears of typecasting and in which he’d been replaced by Roger Hanin.

The trailer for Le fauve est lâché (see above)is most instructive on what Lino Ventura’s star persona represented in 1959. Trailers are so interesting for highlighting, revealing, explaining a star’s persona at any given point. The trailer offers a promise of certain characteristics on view or to be displayed by the star; a promise to the audience to explain the particular embodiment of a type with the associated pleasures audiences may expect from it. The voiceover tells us, ‘You know only him but look at him well. See how this time he’s calm, tranquil, a quiet father retired from business, at least a certain kind of business. He’s all placid behind his counter. But don’t believe it! It’s sleeping waters. Dynamite which covers…and here is the wildcat released, unchained…This man is dynamite, a sort of force of nature against which we’re helpless…This is the hero of Le fauve est lâché. There he is, more violent, more captivating than ever. This man is Lino Ventura’.

 

The film delivered on the promise of the trailer. Ventura has presence and he embodies the type well. But what the audience was allowed to discover for itself was just how good an actor Ventura had become. See the scene above: Gangsters have kidnapped his son in exchange for the secret papers and he’s calling Secret Services to inform them that this is where their dirty tricks have led to and that his son means more to him then his country. It’s all done in one shot which begins with him bouncing down the stairs, pushing his employees out of the way, dialing, getting his gun out of the drawer and into his pocket, and as the camera slowly moves into a close-up, unleashing his wildcat onto the authorities. See how his fists clench, how his voice rises to almost a scream, but how his eyes remain focussed, still. It’s this emotional unleashing from a place of relative emotional placidness that gives it the power that it has. And it’s also an example of how the film gains by building its action sequences on family melodrama.

The film was released on the 21st of January 1959; as we’ve seen, a considerable hit; and well-reviewed: Jean de Baroncelli in Le Monde wrote: Yesterday ‘gorilla’; today, wildcat; Ventura has in a few months become the no. 1 heavy-weight champ of French Cinema’. Watching Le fauve est lâché one understands why[2].

In A Personal Journey Through French Cinema, Bertrand Tavernier argues that this film was also the making of Claude Sautet, for reasons he explains below:

 

José Arroyo

[1] Soutenu par l’acteur principal, l’assitant deviant réalisateur…Avec lui, les scenes atteignent une intensité que Labro n’aurait sans doute jamais pu susciter…Grâce a Sautet, Le fauve est lâché acquiert une nouvelle dimension. Pas celle d’une grande oeuvre mais au mons celle d’un honnête film d’action (loc 1783 on Kindle, translation my own)

 

[2] ‘Hier “gorille”, “fauve” aujourd’hui, Ventura est devenu en quelques mois le “pos lourd” no 1 du cinema francais. Translation my own, Phillip Durant’s Lino Ventura, loc 1783, Kindle.

 

 

 

Un mauvais fils/ A Bad Son (Claude Sautet, France, 1980)

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mauvais_fils

In his lushly illustrated new book, Moments That Made The Movies (Thames and Hudson, 2013), David Thomson, referring to the  famous nightclub scene in Morocco where Dietrich sings ‘Quand l’amour meurt’ before kissing a woman and then throwing Gary Cooper the flower she takes from her, writes: ‘the moment is weightier than the film, and more enduring. But these days people like to take their films in bits and pieces – video allowed for that – so one day it may be that no one makes full movies any more, just arresting moment.’

Claude Sautet is responsible for more than his share of arresting moments in cinema: the wonderful close-up of Romy Schneider when Michel Piccoli first sees her in Les Choses de la vie; the moment where Yves Montand, full of sea air and lust for life, says, ‘I feel like fighting someone!’ in César et Rosalie; the introduction of  Romy Schneider, ‘irised’ through a spyglass, in Max et les ferrailleurs; and many more.  His cinema has more than its share of moments that startle either with beauty, meaning or emotion. But his films are always greater than, add up to more than, those moments. Un mauvais fils is no exception.

In Un mauvais fils/ A Bad Son, Paris is seething with strikes, demonstrations, protests but none of the characters in the film can think of anything but their own internal ache. They walk the same streets as people who are aware of and engaged with the surrounding world, drink with them in bars, pass by posters that interpellate involvement and participation from others but which they fail to see. Their thoughts are elsewhere: on what they could have done, should have done, should have been; or on their next fix — the latter being a sign of the failure to measure up to all of the former.

Patrick Dewaere as Bruno
Patrick Dewaere as Bruno

Patrick Dewaere, a singular star and iconic presence of 1970s French cinema, is beautifully cast as Bruno Calgagni, the ‘bad’ son who went to study in America only to be locked up for five years for dealing the heroin he was hooked on but could no longer afford to buy. The film begins as he returns to Paris, where the police greet him at the airport and tell us what got him to that moment. He returns home to find a father who’s loving but also impatient and increasingly reproachful, his very face a picture of disappointment. The son tries to please but always seems to put his foot in it. A scene where he’s drinking with his father at a bar and attempts to impress him by picking up two women, possibly professionals, one for each of them, only to be met by his father’s outrage and disgust is particularly poignant, squirm-inducing and, as we will learn later, hypocritical.

Father and son are loving, both trying their best but failing, albeit each in his own way. The awkwardness, misunderstandings and careless hurtings continue until the father accuses the son of being responsible for his mother’s death; that the shame and hurt he caused her incited a spiral of depression that lead to her taking her own life. This accusation, a breaching of silence that opens the floodgates of anger and blame, is a climactic moment and turning point in the narrative.

We are introduced to Dewaere at the beginning of the film already looking like a cock-eyed spaniel eager to please but bewildered at being wounded, finding himself unloved and drifting in the world through a haze of hurt — that aspect of Bruno doesn’t fundamentally change. He’ll be just as angelic, child-like, sensitive, honourable and manly throughout the rest of the film. But be it careless or cruel, his father’s accusation spurs Bruno to action: his response is to leave the apartment they’re sharing, find a job, make his own way in the world and find his own woman.

Bruno will echo, rhyme, repeat and return his father’s behaviour later in the film when the tables are turned: he will prove himself his father’s son and be just as accusatory and unforgiving when he finds that the affair his father is currently involved with had started way before and might have been just as responsible for his mother’s state of mind as his being in an American jail. It will take him the rest of the film to forgive and come to terms with the father he’s clearly always loved.

Bruno finds some peace when he finds work in an antiquarian bookshop, meets a lovely gay couple and falls in love with Catherine (Brigitte Fossey), herself a former junky. He’s been off the smack for five years; she’s not quite off it, not yet. The film shows the progression of their affair with great tenderness and humanity and without eschewing any of the complexities that such a relationship entails. One of the most touching and moving sequences is when Bruno, understanding of Catherine’s need, lovingly tweaks her with heroin. All this is shown with the arm injected off screen to reduce the most voyeuristic dimension of such a representation and to focus on feeling. The film is refreshingly non-judgmental regarding the drug-taking, really treating it as an illness that good people fall prey to and suffer from rather than, as is often the case,  attributing their drug-taking to a lack of character, morals and will.

A LANDMARK REPRESENTATION OF MALE HOMOSEXUALITY

If the film’s representation of heroin addicts is sensitive and humane, its representation of gay men seems to me a landmark, one that deserves greater attention, and is one of many reasons to seek out this film.  Vito Russo’s The Celluloid Closet: Homosexuality in the Movies, published a year after the release of Un mauvais fils details a long and damning list of derogatory stereotypes through which homosexuality had been glimpsed to that point, usually briefly; and often only to be feared, derided or extinguished: the evil lesbian, the pansy, the butt of humour, the subject of suicide etc;

In Un mauvais fils, the contours of the representation remain stereotypical; they’re a short-cut, a way of knowing, and with a root in the real. Thus Adrien (Jacques Fulfilho) is an antiquarian dealing in old books, bourgeois, mad about opera, and supporting a younger foreign lover, Carlos. But as with so much of Sautet’s work, the character is so complex, so human that actor and director endow those contours with shape and shading and thus exceed them.

Adrien loves Catherine, wants to help Bruno, is understanding of all, is the catalyst for the film’s conclusion and, more importantly, figures as as the film’s moral conscience. Un mauves fils even accords him his own little aria, which, whilst not up to the heights of Mimi’s in the La Boheme he loves so much, is such a great speech, such a landmark speech in a history of the representation of gay men in cinema that I attach a clip below and a rough transcript of what he tells Bruno below that. Dulfilho, won a César, the French equivalent of an Academy Award, for Best Supporting Actor, for his work here.

The Speech

Adrien: ‘You might as well jump, it will at least be faster!’

Bruno:‘You don’t know my life…I needed to escape, at least once’

Adrien: ‘There’s no escape bar jumping out the window! Escape! From what? From oneself? From others? From loneliness? From fear? We escape? We go for a walk? To go where? Here is how things are: it’s nine am, I’m 63, I look at myself and I’m cold and I’m homosexual and I’m covered in debts. I don’t know how I’m going to pay for my life, the bookstore, Carlos. I’d love to get drunk and then when the effects have worn off I’d be thirty, I’d own the bookstore, everyone would be homosexual, those that are not would be persecuted, Carlos would be left-wing and there’d be no more bullshit! Yes, it would be great! On condition of being able to return obviously.

GREATER THAN THE SUM OF ITS PARTS 

frames emptied of action
frames emptied of action

It is one of the great moments in the film but as I mentioned at the beginning, Sautet’s films, this one included, add up to more than its parts. Sautet’s a humanist in perspective, a classicist in style, and meticulous in all aspects of his filmmaking. See for example, the fluid long takes with scenes shot on a diagonal  that somehow creates a vertical space of action on the horizontal wide-screen; or the the subtle and significant shifts in focus as the father and his girlfriend are driving in to work (see clip below). Note too, how in keeping with the themes of the film, the camera often ends on nothingness (see example above), on empty space that is not without significance: the empty space created when characters leave a room to make love in another room so that what they do may be imagined. But also things like the shadow of a staircase bannister once characters have vacated it. This has an effect not unlike that we see in Ozu or on the films of Takeshi Kitano and in Sautet’s film comes across like an extinguished sigh, a place of action where the desired action did not in fact take place.

See also how carefully sound is used, sometimes so that it sets up one scene or continues from another – not unusual but so beautifully done; note too how often we are not permitted to hear what the characters themselves do as a way of creating tension and drama. I’m also very admiring of the colour design of the film (see image capture below), how each scene has its own dominant colour scheme that is carefully choreographed throughout the film’s narrative: the browns and beiges at the beginning,  the bright yellows or reds in the construction scenes, the patterning in blue when Brigitte Fossey gets her hankering for her fix in the seaside.

Note too the wonderful editing, sometimes as indicated earlier, lingering a bit too long on the space of action after the action has finished or moved elsewhere but note the beautiful use of dissolves too (see illustrations below); for example, after Bruno vomits in the metro, there’s that wonderful dissolve of the weeping flower over the rainbow and the sky onto the two men at the bookstore. And then, as is so characteristic in this film, the filming is from outside a window so that it reflects the life outside that the characters inside are oblivious too. Truly lovely.

SUBTLE SHIFTS IN FOCUS

SUBTLE USE OF COLOUR DESIGN

The beige, brown and black that predominate here are the colours associated with Bruno and re-deployed when evoking associations with childhood.
The beige, brown and black that predominate here are the colours associated with Bruno and re-deployed when evoking associations with childhood.
The blues take over when Catherine is in the seaside and needs her fix.
The blues take over when Catherine is in the seaside and needs her fix.
Bruno's father at work, he dressed in black at the centre, surrounding him the galvanising technicolor hues of his work, particularly the yellows and reds, although the whites are worth consideration as well.
Bruno’s father at work, he dressed in black at the centre, surrounding him the galvanising technicolor hues of his work, particularly the yellows and reds, although the whites are worth consideration as well.

DISSOLVE INTO REFLECTIONS OF OUTSIDE

Bruno vomitino in the metro is the cue for the dissolve that begins on what seems a red flower weeping onto the bookstore where Carlos and Adrien are anxiously calling
Bruno vomiting in the metro is the cue for the dissolve that begins on what seems a red flower weeping onto the bookstore where Carlos and Adrien are anxiously calling
As we can see from the reflection on the window, the image dissolves into another filmed outside the bookshop so we can't hear the phone conversation and so that the outside world is reflected as happening outside the emotional turmoil happening inside
As we can see from the reflection on the window, the image dissolves into another filmed outside the bookshop so we can’t hear the phone conversation and so that the outside world is reflected as happening outside the emotional turmoil happening inside
before finally cutting into the inside of the shop when we can hear what is being said.
before finally cutting into the inside of the shop when we can hear what is being said.

By the time, the film gets to the end, you know, identify, feel for these characters. It’s a melancholy film but one that feels tender and true. The ending with the son just lighting a cigarette and looking lovingly at the father as he sleeps just brims over with unspoken feeling. The film offers no utopian resolution just an understanding, a forgetting, a moving on, a decision to continue and choose love. That feeling is not the result of one moment, it’s the building up of many scenes, many choices of mise-en-scène, many small miracles of acting. It’s very beautiful.

Last reconciling look onto the father
Last reconciling look onto the father

José Arroyo

Les choses de la vie/ The Things of Life (Claude Sautet, France, 1970)

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Les choses de la vie
Les choses de la vie

The original trailer for the French release in 1970 promised that Les choses de la vie/ The Things of Life would be ‘about people, people like you, people to whom things happen, things of life: beautiful, sweet, stupid; things of life that make life worth living’. If the ‘you’ referred to is an ideal ‘you’ – richer, more glamorous, more beautiful – then, the film delivers on that promise.

What might have been.
What might have been.

Les choses de la vie begins with an image of the wheel of a car in a field. We realise that a car has crashed in a rural motorway. Inside the car is Pierre (Michel Piccoli), a successful architect. As he drifts in an out of consciousness, we find out what his life has amounted to, what has been important to him: Catherine (Lea Massari), his wife, whom he’s separated from but  who he still has unresolved feelings for; Helène (Romy Schneider), the mistress who adores him but whom he finds a bit clingy and demanding; the son, suddenly grown-up and growing more distant by the day; his parents; the problems with his job; the things he did wrong and might never get a chance to fix; flashes of joy experienced whilst sailing with his family or kissing his mistress in a meadow.

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Les choses de la vie could so easily be soap opera; could so easily have become what its American re-make, Intersections (Mark Rydell, USA, 1994), turned out to be: a glossy, glamorous melodrama with people one couldn’t relate to and that remained at one remove, as if the pretty-ness of the image was a glass barrier to feeling. Yet, Sautet’s film is something else: even more exquisite to look, but here the look providing a lens through which to see a complex life in a way that is  much deeper, much finer.

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It’s a poetic film, sad, with an emphasis on feeling and on thought rather than on action; where things are felt but hidden, half-said, mis-articulated; where the narrative shows all the complexities that the characters cannot themselves express, may not yet know, may in fact be trying to hide; a film where things are expressed visually and aurally, as befits a film.

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The film is structured around the car-crash, spectacularly choreographed by Gérard Streiff and shown in a variety of ways depending on the mood the film is intent on conveying when it returns to it, as it does throughout the film; it’s the event that anchors the narrative and permits it to drift off in fragments whilst still being experienced as linear; it works as memory, as drifting thought, but it at all times makes sense to the viewer.

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We sometimes see it in slow motion, or with the film speeded up, or even with the film being run backward; and when we return to the accident, we sometimes cut to the witnesses of the crash, sometimes to an event in Pierre’s life; sometimes just to his point-of-view as he’s trying to make sense of what’s happened to him. In one instance we see a shiny black boot, stepping on a gorgeous ground of green grass, poppies and little blue flowers. As Pierre tries to focus, and at the very moment in which he realizes he might die, he can still see beauty amongst the black.

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One can understand why Sautet thought Jacqueline Thiédot, chief editor, important enough to come first at the end credits. The film is a masterpiece of editing. But really, the film is a masterpiece for many reasons.

Helène talks about love
Helène talks about love

It’s full of wonderful moments: the two scenes where Pierre and Helène discuss their relationship, first in the elevator and then in the car, where the shadows as the elevator ascends through floors, or the lime yellow of passing traffic, create a murkiness, a lack of clarity, that symbolizes all of the mis-communication, the pain of Helène’s honest and vulnerable expression in the light, or lack of light, of Pierre’s inability to express his own emotions, in the light, or lack of light, of his silence.

Pierre feels as strongly but cannot speak about what he feels.
Pierre feels as strongly but cannot speak about what he feels.

Or the wonderful close-up of Romy Schneider at the auction (see clip below), where one can see exactly why Pierre fell in love with her; or those moments of bliss sailing, never to be repeated, already in the past as the image fades to white; or the exquisite pan around the wedding banquet where the dream of what might have been suddenly turns into the nightmarish realization of what actually is in one sweeping camera movement.  This is the work of a truly great director.

Sautet here also enjoys the collaboration of  an extraordinary team. Not only the aforementioned Thiédot but also an intricate screenplay based on the novel by Paul Guimard which Sautet superbly knitted together  with Guimard, Sandro Continenza and Jean-Loup Dabadie, who would later write at least dialogue for many of Sautet’s other films (including the marvellous César et Rosalie). Jean Boffety is director of photography and responsible for very beautiful and  evocative images with a lighting design that signifies; one in which, things are half shown as they are half-spoken, capable of great beauty in that wonderful Eastman colour that picks up primary colours and makes them almost shine (sadly it is also the process most prone to fade and turn to red ). Also the camera renders the space almost sculptural in the way that it frames all that happens as spaces of changeable feeling and meaning; all this greatly aided by Phillipe Sarde’s very beautiful score (the film itself is almost structured as a fugue).

Romy is dressed by Courrèges
Romy is dressed by Courrèges

A popular success, Les choses de la vie was the 8th highest earning film of its year with 2,959, 682 admissions. It won the Louis Delluc Prize for Best Film in 1970. It was also nominated for Golden Palm at 1970 Cannes Film Festival. The film would revitalise the careers of Sautet and Schneider and lead to many future collaborations between them, including Max et les ferrailleurs/ Max and the Junkmen and César et Rosalie, both superb. Les choses de la vie was remade in Hollywood  as Intersections directed by Mark Rydell and with Richard Gere, Sharon Stone, Lolita Davidovitch. It might be worth noting that the performances of Piccoli, Schneider and Masari are so great they completely eclipse any memory of the American actors, which I saw first. Courrèges did Romy’s chic, career-girl A-line mini-dresses. Lovely.

To my knowledge, Les choses de la vie is not available in the UK or the US with English sub-titles. I hope someone does something about it soon. It’s only a matter of time before Sautet’s great works are re-disovered. Les choses de la vie is one of them.

José Arroyo

César et Rosalie (Claude Sautet, France 1972)

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Cesar-et-Rosalie

César et Rosalie is the kind of film current cinema seems to have given up on: about love; small scale but thought through; each shot both a picture worth looking at and a space of feeling; and about something worth feeling too, which is to say it’s about that which hurts.

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70’s fashions by Yves St. Laurent (with the 20s influence clearly in evidence)

César (Yves Montand) loves Rosalie (Romy Schneider). Years before, Rosalie had loved David (Sami Frey), an art designer and illustrator, but he moved to New York for work. On the rebound, she married an artist, Simon (Dimitri Petricenkio) and had a child with him, Catherine. Neither cared for the other enough to stay together but they each love their child and get on very well as a result. As the film begins, she’s with César, a rich dealer in scrap metal, rough-hewn, extrovert, manly, in many ways the opposite of the quieter and more artistic David. César is  head-over-heels in love with Rosalie. But then, David reappears.

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Vogue is pictured behind and Romy looks like she’s just stepped off its pages.

Two men in love with the same women is a staple of Hollywood cinema. But there, the bigger star always wins, even in Lubitsch’s Design for Living (and by-the-by, Ralph Bellamy is perhaps the most famous never-quite-a-star who made a career of playing the man who lost out in films of the 30s and 40s)). There was another type of film, one where men were equals in relation to their feelings for the woman, and where they in fact bond with each other over their feelings for her (which she reciprocates towards both, though maybe not at the same time or when they want or need it most). In this type of film, which begins to appear later, the woman is the central character: Truffaut’s film might be called Jules et Jim but its plot is all about Catherine; and the camera is completely in love with the woman who plays her, Jeanne Moreau. Perhaps due to the influence of ‘La Nouvelle vague’ in general and Jules et Jim in particular,  there was a vogue for this type of scenario in the 1970s: Mike Nichol’s The Fortune (1975) is but one example; and in fact Paul Mazursky even directed a loose remake of Jules et Jim called Willie and Phil (1980)  which I remember liking very much. César et Rosalie is part of this cycle, at the very beginning of it in fact, and in my view, the best exemplar of it.

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Platform shoes, bell-bottomed trousers, long hanging necklaces. Very 70s and very chic.

But let’s return to the beginning. César and David interact before they meet, in a competitive car chase to the wedding of Rosalie’s mother that César loses. César is a man who is not used to being challenged much less beat. And, in relation to Rosalie, it’s not David that beats him, more a kind of nostalgia Rosalie has for that which never was between her and David that nonetheless remains a whisper of a yearning, one which César’s crude attempts to drive David away inflames  into a shout . She still longs for dreamy, artistic David. But she continues to love earthy, business-savvy César. He in turn does everything possible to keep her, not only buying her a country house but, eventually, even bringing David to her. Near the end of the film, she flees from both but, in the process of losing her, the men discover they like each other and become firm friends.

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velvet choker, no jewellery, neckline plunging through sheer fabric that nonetheless covers the arms; hair piled up like an Edwardian Lady.

At the end, as César and David are eating by a window, the camera shows us Rosalie, seen behind an iron gate, arriving in a taxi. The camera then cuts back to the men and we see David looking at César looking at her. David’s always been the one who loved without desiring. César’s love has been total, focused, certain. However, as the camera returns to Rosalie, the frame freezes, a throb, a heartbeat  before we can be really sure of who she’s returning for; perhaps she’s returning for both.

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Sporty, wintry, beachwear. The sophistication of the patterning on the jumper, the elegance of the hair pulled back, the white stripes on the wellies: casual ware? Only in a French movie.

These nuances of feeling, mixed up, uncertain, sometimes with emotion at battle with reason is one of the things that makes viewing César and Rosalie such a rich and lovely experience. Another is that though Rosalie loves both, she’s never really confused about her own feelings. She’s not only honest to others but to herself; and Romy Schneider, lovely in every film I’ve seen her in, is especially touching here. There’s something feline, fragile but honest about her Rosalie. She seems gentler than everyone else in the movie, elegantly melancholy as if the tinge of sadness that envelops her weighs down her movements; as if her integrity, her principles,and her honesty, were burdens impossible to shake.

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Romy returns. But for whom?

Montand is also a joy. He’s at his most likeable and best here. I’d forgotten how sexy he can be;  big, light of step but with a firm stride, short of thuggish but capable of brutishness; and with a showman’s eagerness to please. He makes us understand why César is a successful businessman and shows us that charm is part of the arsenal he draws upon in his constant battle to win. One gets a sense not only that he sees Rosalie as a class above, as almost too good for him, but that the intensity of his emotions have taken him by surprise. Montand has a way of jutting his shoulders back, tilting his head up and flashing a great big smiles that shows he’s a seducer who knows how to charm, and charm all: men, women children. We see him in action, singing, telling stories, and he’s at all times believable: we’re as delighted as the audience within the film. Yet there’s also the panic in his eyes, and the sadness ,and the bursts of violence over what happens. We see  that, although he might be a class below David and Rosalie economically, his feelings are as pure, as honest and as refined as anybody’s.

Montand, laying on the charm but with his too big shirt collar betraying his class origins.
Montand, laying on the charm but with his too big shirt collar betraying his class origins.

The film is produced by Michelle de Brocca and beautifully mounted with superb production values. Phillip Sarde’s music has a jaunty electronic urgency that gallops situation and feeling along. Sautet stages scenes in long takes with, and I’d never thought I’d use this phrase, an elegant and restrained use of the zoom. Characters express their feelings in beautiful locations beautifully filmed by Jean Boffety and the locations and the way they are filmed are part of the way the film expresses those feelings. Schneider wears a glorious Yves St. Laurent wardrobe, amongst the most elegant 70s fashions you can hope to see, particular in terms of  clothes worn as everyday wear, that I would like to know more about. We even hear Michel Piccoli as a discrete voice-over narrator filling in some of the backstory but in a way that deepens and enriches: we never get the feeling he’s telling us all there is to know.

Here’s the beauty and strangeness of César and Rosalie:  there’s a sense in which the wardrobe, locations and situations are somehow addressed to a female audience; the plot also seems to centre on the woman; and yet, it is the character of César who is the vehicle for and bears the burden of feeling. And it is perhaps that combination that makes it seem so rare and special, particularly when packaged as  a glamorous, commercial, big-star vehicle. César and Rosalie  is exquisite.

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Sami Frey, intelligent, artistic and sensitive eye-candy for Romy and for us, for better and worse.

José Arroyo