A man and a woman synopsis

A man and a woman synopsis | appreciation | review

1966 color film 107 minutes

Produced by Paris 13 Film Company.

Director: Claude Leroux Screenplay: Claude Leroux Pierre van der Hoven Photography: Claude Leroux Main Actor: anouk aimee (as Anna Gautier) Jean-Louis te Landini Ang (as Jean-Louis Duroc) Pierre Hu Ba (as Pierre Gautier) Valerie.

This film won the Palme d 'Or and 20th Anniversary Award at Cannes International Film Festival from 65438 to 0966, the Catholic International Film Review Committee Award, the Advanced Technical Committee Award for Cinematography, and two Oscar Awards for Best Foreign Language Film and Best Photography.

abstract

Anna Gautier is a film journalist. Although she is nearly thirty, she is still elegant and beautiful. At the beginning of the film, she was telling a story to her five-year-old daughter on the beach in Deauville, the Atlantic coast of western France. Little Francois was so cute that he was not interested in her story and insisted that his mother tell her the story of Bluebeard's murder. While playing the credits on the screen, a middle-aged man of about 30 years old with sunglasses and a cigar walked up to a racing-style red car, snapped his fingers in the direction where the driver was sitting, and said in a commanding tone, "Go to the golf course! ..... No, to the racetrack! ..... no, go to the port! " When the car started, he said, "Let's go to the golf course! ..... don't! I've decided, Anton, let's go to the racetrack. " When the car veered off the track, he quickly turned to grab the steering wheel. Only then did we discover that the driver was a boy of five or six years old. The middle-aged man named Jean-Louis Duroc is an engineer of Ford Motor Company, and his youngest son is Anton. The father and son laughed loudly and drove the car to the seaside. The car circled quickly in the sand, raising a cloud of dust behind it. ...

After playing at the seaside for a day, Anna took her daughter's bags and went to the boarding school, talking and laughing, and gave Fran? ois to the headmistress. In this rainy season, the sky is covered with dark clouds again. Anna looked at the sky, hoping to get to the station before it rained. Just then, Jean-Louis and his son came back. It turns out that Anton and Francois study in the same boarding school. The headmistress suggested that Jean-Louis take Anna to the railway station, because the train to Paris was about to leave.

Jean-Louis suggested that Anna take his car back to Paris, and Anna accepted it gladly. Two people were driving to Paris in the rain, and the windshield wipers kept swinging. Along the way, Anna and Jean-Louis chatted happily, talking about their life experiences from the children who went to the same school. Anna and her husband both work in the film industry. Her husband Pierre Gautier is a stuntman and amateur singer. They love each other deeply. With Anna's narration, we see Pierre Gautier shooting a war scene: shells exploding everywhere, flames and thick clouds. Pierre ran from the Woods to the open place. He made a detour to the enemy's position. Suddenly he let out a cry and fell to the ground. The director immediately ordered to stop filming, and the result was an accident. Pierre was unfortunately shot and killed. After her husband died, Anna poured all her feelings for her husband into her daughter francoise.

Jean-Louis sent Anna to the door of her residence and suggested that they visit the children together next Sunday. Anna asked him to call her on Saturday and then make a decision. On this day, Jean-Louis developed a new sports car in the laboratory of Ford Motor Factory. Through the huge round glass window, he watched Formula One racing on the track of the proving ground and kept looking at his watch. I wonder if he is calculating the speed of the sports car or waiting for the right time to call Anna. After the long-distance call was connected, the two agreed to leave at 9 am the next day.

On Sunday morning, Jean-Louis drove to the door of Anna's residence in advance and waited patiently in the car. Anna, who was not very punctual, finally went out of the house and sat down beside Jean-Louis. It was another rainy day, and the car was driving at a medium speed on the expressway from Paris to the Atlantic coastal city. Wipers keep meeting at the window, hesitating whether to part. When Anna asked Jean-Louis what he did, he appeared in the picture, with a cigar in his mouth and a big plaid suit, walking in an alley where * * * gathered. Every girl respectfully gave him the money she earned, but some girls hid it in their underwear. He turned it over and gave her a slap in the face as punishment.

The two men came to Deauville, talking and laughing. After picking up the children from school, four people went to a restaurant for lunch, and the two children had a good time. After lunch, they took a fishing boat and went out to sea for half a day. At dusk, after sending the children back to school, Anna and Jean-Louis boarded the road back to Paris. Anna gently asked Jean-Louis to introduce his wife. The camera takes us back to the racecourse: this is an unprecedented competition, which is broadcast live by more than 20 TV stations in Europe. We saw Jeanlouis wearing a helmet driving a Formula One car away from the starting line, and his wife Valerie sat nervously in front of the TV, staring at the speeding car. Suddenly an ambulance appeared on the screen, and people used stretchers to carry Jean-Louis, who was injured in a rollover, onto the car and take him to the hospital. He went into shock on the operating table for more than three hours before he regained consciousness. Valerie, who was waiting outside the operating room, thought her husband was dead. She couldn't stand the sudden cruel blow, had a nervous breakdown and committed suicide when she got home.

When the car drove to the front of Anna's residence, Jean-Louis told her that he would go to Monte Carlo for a rally next week. If he can't come back on Sunday, he asks her to look after his son. Call her as soon as you get back to Paris.

After Jean-Louis left Paris, Anna bought Sports Team and several other sports magazines that she had never seen before at the newsstand. After arriving at the shooting scene, although I was very nervous at work, from time to time I flashed a team of racing cars whizzing by with dust. At this time, color and black-and-white images appear alternately on the screen: the black-and-white lens shows the Ford sports car driven by Jean-Louis, the body and windshield are splashed with mud, suddenly galloping at the foot of the snow-capped mountain and suddenly crawling in the desert. The color picture is a busy scene, and the director, Anna and the staff are running around in the scene. The rhythm of alternating black-and-white and color pictures is getting faster and faster, which makes people dizzying.

The rally was over, and Jean-Louis and his assistant worked together to reach the finish line ahead of time and won the first place. Anna learned the news from the live TV broadcast and ran to the post office to send a congratulatory message to Monte Carlo. The message is "Great, I love you. Anna. " Jean-Louis, who is attending the celebration party, was ecstatic when he saw this unexpected telegram. He abandoned the swarming reporters, left the celebration banquet held in his honor, returned to the hotel and checked out immediately. Wake up the waiter at the gas station in the middle of the night, fill up the gas and drive to Paris day and night.

At dawn the next day, exhausted Jean-Louis rushed to Anna's residence, thinking about the happy scene when Anna opened the door for him. Unexpectedly, Anna's door was locked, and there was no sound after ringing the doorbell several times. The janitor of the apartment told him that Anna had gone to Deauville the night before. Jean-Louis rushed to the beach regardless of fatigue and saw Anna playing on the beach with two children.

In the evening, after sending their children back to school, they walked into a hotel. Here, they did what a man and a woman wanted to do when they were in love. With the falling body, Anna's late husband Pierre's singing sounded, and moving pictures of Anna and Pierre's love kept appearing. When making love, Jean-Louis heard Anna shouting Pierre's name excitedly. This cry embarrassed both of them. Anna didn't want to go back to Paris in Jean-Louis's car, so she let him go to the railway station by herself. Before Anna got on the train, Jean-Louis asked Anna painfully, "Why did you lie to me about your husband's death?" Anna sincerely replied, "He is dead, but to me, he is still alive ..."

Anna was sitting on the train to Paris and remembered the dinner she had with Jean-Louis before going to the hotel. His humor drove away her sadness. When the train arrived at Paris Saint-Lasalle station, she was surprised to find Jean-Louis waiting for her on the platform. After a short hesitation, the two men couldn't help hugging each other tightly, and Jean-Louis took Anna's happy cheeks in his hands. ...

Distinguish and appreciate

This film tells a very common love story: a widower meets a widow and falls in love. Although a woman doesn't forget her ex-husband's old love, she can't stand this man's persistent pursuit. This is the only natural thing in the world. Such stories are endless, and countless movies have been made, but it is really not an easy task to make a good film that is unconventional.

This kind of ordinary story, which may happen every day, is closest to life, so it is most likely to arouse the audience's resonance and recognition. "A Man and a Woman" is the famous work of director claude lelouch, and also his masterpiece. Almost all his films describe the daily life of such ordinary people. The middle class, which constitutes the main class of western society, is the hero of his film. Their dreams are seaside holidays, romantic feelings, well-paid jobs in modern big companies, elegant and fashionable clothes, going in and out of theaters or sitting around in coffee bars, or at least making friends at friends' houses, drinking aperitif and talking nonsense. These scenes can be seen everywhere in LeRush's films. His lens is always aimed at country houses, luxury racing cars, men and women under the sun umbrella on the beach, and at the pair of windshield wipers that keep swinging when driving on the highway in the rain. This less grand theme reflects the ideal life of Bourgeois and fascinates them. The ending of the film is always that the protagonists are in their proper places and everyone is happy, and every audience will walk out of the theater contentedly.

When someone asked why the film was a great success, LeRush said: "To make this extremely ordinary story popular with the audience, we must first be sincere, and let the audience feel that they seem to have a direct connection with some plots or things depicted in the film, so that they can have a feeling of personal experience and have a strong resonance effect. Because the hero's experience is true (based on the material) and everything he says is from the heart (performance), as long as he shoots from the most common angle (photography) without skill, he will be recognized by the audience. Second, let the details be true, vivid and thought-provoking. A movie may fail because of one or two mysterious or neglected details, and impatient viewers will immediately leave their seats with "fabrications". The director will also be notorious for this. I think, if a movie is neither sincere nor credible, then don't waste money and the time of the audience, because the audience would rather watch the fantastic superman or witty remarks than come to the cinema to be fooled. "

This movie really makes people feel sincere. LeRush believes that the picture composition of the film and the performance of the actors must be based on "spontaneous instinct", and the actors must never be allowed to perform and recite the script lines according to the prescribed actions according to the designed shooting angle. Because each actor has his own personality and characteristics different from others, how to make different actors do the same actions and say the same words in the same tone to express their feelings? Movies made according to this traditional program should not be called movies. LeRush said that the studio is the artist's creative world, and the study is the writer's creative world, where their thoughts and inspiration can wander freely, while the director's creative world can only be on the shooting scene: only when facing the actors who reveal their true feelings can the director record his inspiration and feelings in the lens in the best way according to the spirit of the story.

This famous director, who is not from the Film Academy, never writes storyboards. He believes that doing so will only tie his hands and feet, tie his creative inspiration, hinder his live performance, and make the film unreal. His shooting principle is always "follow your feelings". He always gives the actors the fullest trust. As long as they correctly grasped the psychology of the characters, he never told them what to do with their performances, but let them give full play. As a director and photographer, Le Rush always carries a portable camera with him, directing the lighting, recording and makeup artists who are close to each other and creating together with the actors on the set. He said: "The director's camera is the same as the painter's brush. If Van Gogh gives a brush to a friend to paint, even if the theme, color and light are all decided by him, and even the length and thickness of each stroke are completely in line with his will, the signature of this work should not be Van Gogh. "

Although critics have different opinions on LeRush's films, it is generally acknowledged that he is the most typical representative of "camera-pen" and "author's film". When a playwright writes a movie script, the first thing he thinks of is the plot, while LeRush writes a script and dialogue, the first thing he thinks of is the picture. He designed the plot according to the picture he thought was the most suitable for expressing the plot, and then brought it into the camera himself according to the atmosphere of the shooting scene and the inspiration brought by the actor's performance. There are only a handful of members of his film crew, and he is completely obedient to the director and producer. He is the sole owner of the work. During the "New Wave" period, Truffaut said: "The starting point of the" Author Theory "is that a director with certain ideas must make a film completely from his own ideas, and the finished work must be exactly the same as his idea. In other words, the film and the director should be inseparable or' shadow is like a person'. " Using this principle to measure LeRush, he is fully qualified. In terms of thought, Le Rush once said: "Hemingway thinks there are only three things worth writing, that is, love, murder and war. In my opinion, only love is worth filming, because we are always surrounded by evil forces such as murder, war, death, cruelty and violence. I don't want the audience to see these disgusting things on the screen again. " This idea of expressing beautiful love runs through a series of LeRush's films. Such as: hypothetical love (1962), a girl and a gun (1964), great moment (1965), a man and a woman (1966), living for life. Death (1968), the man I like (1969), an affair is an affair (1972), a good year (1973) and a lifetime (65438+), another chance (/kloc)

LeRush believes that many films are not sincere enough because "the car stops when it is time to speed up." When the story develops to * * *, you must speed up the braking, and do it in one go. Don't brake suddenly. When Jean-Louis received Anna's telegram "I love you", if he described the celebration scene too much or asked him to return to Paris the next day, it would be tantamount to "braking". He must be allowed to start a starry night. He couldn't rest until he met Anna in Paris, and then he continued to fly to Deauville. Only in this way can we show the sincere and eager feelings of the transfer-Louis and impress Anna with this sincerity. When the hotel has unexpected twists and turns because Anna doesn't forget the old love, let Jean-Louis run faster than the train, and then Anna will go to Paris Railway Station first. Even a person with a heart of stone will probably be moved by it. At this time, Anna can't help but jump into his arms, so it's natural to be sincere and credible.

Both unexpected and reasonable details will leave a deep impression on the audience. At the beginning of the film, the camera only featured Jean-Louis boarding a car. He gives instructions to the driver in the chaos, and the audience will think that this person has a brain problem. At this time, we can't see the driver's reaction. When the car starts to swing from side to side and an accident occurs, only after zooming can the audience see that a child of five or six years old is sitting in the driver's seat. People suddenly realized that it was both interesting and extraordinary.