Amour à la Smock (French Edition)

With actresses in their thirties now appealing to directors to find roles for "older" women it's doubtful many film makers here could portray a relationship such as Yann and Duras's with unflinching honesty, subordinating the sexual aspects to the more interesting core interdependence that Jeanne Moreau gives life to here.

Demarigny's excellent portrayal notwithstanding, this is Moreau's film, a triumphant demonstration of the depths of her acting AND a statement about her own innate vitality and sexuality. She must care deeply about Duras. A slow moving film that will reward second viewings, it isn't for everyone.

Duras isn't that widely read in the U. Nicely filmed in a verdant France. Explore popular and recently added TV series available to stream now with Prime Video. Start your free trial.

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Set against the beauty of the Breton seaside, it is also a film that revels in the insights that Marguerite Duras' writing Wait, Is Mary Poppins a Witch? Share this Rating Title: Use the HTML below. Dorante, at one point, confesses his real identity; Silvia, however, retains her disguise in order to put her lover through the wringer.

In Jean-Pierre Vincent's production, the magnificent Caroline Proust sits astride a chair exultantly crying 'J'attends mon captive' 'I'm waiting for my prisoner'. But the masochism of love is also exquisitely captured: This is the very ecstasy of pain - something the young French audience around me seemed instinctively to understand. But there is also something politically subversive about Marivaux, not least in his exploration of class and the idea that the servants are often the victim of their master's stratagems.

In Bartlett's version of The Dispute, you realise with a shock that the black guardians of the secluded adolescents are as much prisoners of princely whim as their wards. And Vincent's production of The Game Of Love And Chance follows a tradition, established 40 years ago by Roger Planchon, that in Marivaux the servants lead lives as vivid and vital as their employers. For Proust's Silvia, dressing-down starts as a game: But for Anne Caillere's crop-haired Lisette playing the mistress is a nerve-racking business: Nothing in the production is more painful than Lisette's final, post-coital distance from the lantern-jawed Arlequin whom she, in the game of disguise, has acquired as a husband.

Tenture de la Dame à la licorne

Changing places, in short, is less fun for servants than for masters: The great myth about Marivaux is that he is all style and no substance. His enemies long ago coined the term 'marivaudage' to imply mannered, precious dialogue. Voltaire lampooned his technique as 'the art of weighing flies' eggs on scales made from a spider's web'. Played by Aymeric Demarigny, the young in his twenties Yann is invited to Duras's apartment by the seaside. A mutual attraction develops as Duras, in a role only Jeanne Moreau could bring to life, accepts the young man as her muse, amanuensis and lover. As a couple, they argue, make up and often engage in whimsical pursuits her attempt to teach him to drive, for example in which the generational gap melts away.

This was no short relationship - the couple was together from to Duras's death.

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In the film and perhaps in real life this is, after all, the surviving lover's tale of a relationship of near mythical proportions in literary circles Yann brings certain gifts that spur the aging author's writing. Unfortunately he also brings bottles of red wine which set the alcoholic Duras back into the drinking she apparently had escaped from earlier. An affair between a woman in her eighth decade and a man in his third - an American film would highlight exploitation, perhaps sex served up as bizarre.

With actresses in their thirties now appealing to directors to find roles for "older" women it's doubtful many film makers here could portray a relationship such as Yann and Duras's with unflinching honesty, subordinating the sexual aspects to the more interesting core interdependence that Jeanne Moreau gives life to here.

Demarigny's excellent portrayal notwithstanding, this is Moreau's film, a triumphant demonstration of the depths of her acting AND a statement about her own innate vitality and sexuality. She must care deeply about Duras.

Musée de Cluny, Musée national du Moyen Âge

A slow moving film that will reward second viewings, it isn't for everyone. Duras isn't that widely read in the U. Nicely filmed in a verdant France.

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