My Night at Maud's (1969)
The narrator (Jean-Louis), a devout Catholic, moves to a provincial town and vows to marry Francoise... (imdb)
Cast and Information
Directed By: Éric Rohmer
Written By: Éric Rohmer
Franchise: Contes moraux
AKA: Ma nuit chez Maud
Where to Stream
My Night at Maud's belongs to 78 collections
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This is the way a dialogue heavy drama should be. The conversations are so natural and interesting that you don't notice how long they are. The film doesn't show much, but there is enough to give the characters a depth and let you get at their motivations. Rohmer expertly combines the characters actions and their conversations to make you think about love, chance and belief.
Moral: situations are possible where it is better to let her (or him) believe that something happened, even if nothing did. Except that this is also about a man who imagines he is taking chances but is really playing the odds (including hedging his bets), and who, although he engineers a future resembling his fantasy, perhaps misses out on the possibility of entering into a real collective individuation process, instead finding himself with a superficially cheerful wife but an uncertain future.
Maud is the victim of this sad story about choices. I think Jean lost his true love because of his prejudices. The book about atheism at the home of Francoise and her past life implies that she is no better or more innocent than Maud. It's so sad that Jean couldn't let his feelings direct him. I don't like Rohmer so much, this film is definitely an exception. Since it has some Bergman, some Godard in it!
There is a beautiful sadness to this minimalistic film about the necessity of choices in life.
I doubt that you can actually find this many random strangers on the streets who are this high-minded, but this is another of Rohmer's talkfests that's never dull
Assaults you with its philosophical musings and name-dropping on the outset, but slowly eases into a compelling, ambiguously character-driven experience; and a rewarding one, at that. Glad to find Rohmer on firm ground, with an acting troupe capable of portraying his complexity with ease (as this was my main problem with his earliest work).
It's at times breezy and fun, and at others nearly inaccessibly philosophical and spiritual, although it thankfully never descends into painful, Godardesque musings on these subjects. Rohmer writes dialogue so well that he can get away with such a talky film, as the conversations consistently engage rather than bore. One of his best.
I don't have much to say about this except I really liked it. It's a little talky, but Rohmer (like Malle) has an exquisite gift for protracted conversations, and their subtle nuances. Like his other Moral Tales films, it's the story of a man choosing between two women, with neither choice necessarily being the "right" one. Trintignant (from The Conformist and Three Colors: Red, among others) is excellent.
An absorbing movie filled with a lot of talk, but the talk is not only fascinating in itself but revelatory of character, particularly the character of the Catholic engineer played superbly by Trintignant. My only problem with the film--a small one--is the coincidence with which it concludes and which makes resolution possible. Although it can be defended as an ironic comment on the film's theme of probability, I still believe it provides too pat an ending for this a rich and beautiful film.
Is this why some people were scared of "talkies"
The first film that showed Rohmer's unique talent in its full form: long conversations with a mixture of theoretical discussions and daily chat, which are intriguing as both seduction and exposure, characters with real subtleties that challenge possible moral (in a conventional sense) judgments, and an ending that is not just pleasantly surprising yet totally making sense, but furthermore giving a cosmic feeling by showing understanding and care to human 'immoralities'. So full of warmth.
It's amazing how Rohmer conveys so much with such minimalist technique. This is a film grounded firmly in reality, considering questions of fate, chance, and choice without sensationalizing. His use of language is fantastic. Despite being a dialog-heavy film, there is little in the way of straightforward communication. The protagonist talks as if he wants to be perceived in a particular way, but Trintignant plays him with doubt and reserve, gradually revealing his true character.
20 Kasim 12 & Hakkinda fazla konusmak istemedigim nadir filmlerden; - I agree what Henrik (from criticker) says; "There is a sadness to this beautiful film... a sadness to the necessity of choices in life. "
This has absolutely no business being this good. It shouldn't work at all. It's just a lot of back and forth between some very french people and yet, because of Rohmers tastefully minimalistic approach to cinema and his (almost too) sly script that reveals the doubts, limited charms and limitless flaws of his protagonists, it works brilliantly.
The problem with being this dialogue heavy is my intense hatred of non literal subtitles. I don't understand why some faceless drone has to change all this stuff around. Also, it was really bad every time it was in a church. And why in the fuck didn't the dude sleep with Maud. She was lookin good.
An intellectual slow-burn. Rohmer's Moral Tales are like watching a mirror of my life. Normally I wouldn't enjoy being that introspective, but when the films are this smart, insightful, bleak and beautiful, I can't really complain.
A brilliant application of Pascal's Wager to film. Both philosophically and relationally deep.
Wonderful. One of Rohmer's more complex films. Despite the usual frank discussion of emotions we're never quite sure how characters are really feeling and whether they're telling the truth or acting true to themselves. I love how the discussion on Pascal's Wager ties in very subtly and nicely with the film's ending. Also this film seems quite elegant in contrast to other Rohmer films, no doubt in part due to the black and white photography (and how well it compliments the snowbound locale).
hmm. i feel i should have liked this more than i did. i mean, i did really like it, with lots of intelligent discussion regarding choice: religious principle and love. but it also felt rather protracted and bland, and the romances seemed awkwardly shoehorned to fit the points rohmer was trying to make - not natural at all. but it was highly interesting, and i definitely enjoyed all the discussion on pascal.
In the late 60s, it was extremely hard to choose between a sexy divorcée and a younger bore. Extremely well done in all respects, with a standout performance by Fabian and a subtle use of form that complicates the literate dialogue with unexpected shades of meaning.
It seems Rohmer is aiming here to create a philosophical film, but what he ends up with for the most part is a film about philosophy. There are moments of greater richness and depth, but these quickly dissipate to be replaced with a sterility and flatness. The dialogue is good, but not brilliant which it needed to be. The film needs more Françoise and less Maud. I am a sucker for a good car scene (inside looking out) and this film delivers in that regard on a few occasions.
|Average Percentile 75.77% from 859 Ratings|