You Ain't Seen Nothin' Yet Page #2

Synopsis: From beyond the grave, celebrated playwright Antoine d'Anthac gathers together all his friends who have appeared over the years in his play "Eurydice." These actors watch a recording of the work performed by a young acting company, La Compagnie de la Colombe. Do love, life, death and love after death still have any place on a theater stage? It's up to them to decide. And the surprises have only just begun...
Genre: Comedy, Drama
Director(s): Alain Resnais
Production: Kino Lorber
  1 nomination.
 
IMDB:
6.3
Metacritic:
69
Rotten Tomatoes:
84%
Year:
2012
115 min
$9,494
Website
48 Views


to cafs with my violin.

I see you struggling

to do your accounts.

I listen to your talk

of fixed price menus,

then I go to bed

and get up the next day.

At my age,

you'll see that's what life is.

I dream about what might part us.

But we get along so well.

By George, you make me laugh!

At your age, I found life magnificent.

I'm going out to the platform.

Our train's in an hour.

Excuse me...

Was someone playing the violin here?

Excuse me...

Was someone playing the violin here?

Excuse me...

Was someone playing the violin here?

Yes, Mademoiselle.

That was my son. My son Orpheus.

He played so prettily.

Yes, Mademoiselle.

That was my son. My son Orpheus.

He played so prettily.

He played so prettily.

Eurydice!

There you are!

It's so hot!

I hate waiting in stations.

Yet another badly organized tour!

The manager should make sure

the leads never have to wait.

There's only one train, mother.

It's not the manager's fault.

You always stand up for fools!

Should we have something to drink?

Now you're sitting down, you should.

A coffee.

Stand up straight.

How come you aren't with Mathias?

He's like a lost soul.

Don't worry about him.

You shouldn't infuriate the boy.

He adores you!

First, you were wrong

to take him as your lover.

I told you that at the time

but what's done is done.

Eurydice, my dear,

you can confide in a mother,

especially when...

Especially when she's your own age.

I mean when she's young.

Tell me, what has he done to you?

Tell me, what has he done to you?

Sit up straight.

Nothing, mother.

Nothing, mother.

Nothing, mother.

"Nothing, mother"

doesn't mean a thing.

He certainly adores you.

Maybe that's why you don't love him.

We're all the same. We won't change.

Is that coffee good?

Have it. I don't want it.

You don't love him anymore?

Who?

Mathias.

You're wasting your time, mother.

You're right, one must follow

one's instincts above all.

I've always followed mine

like the real stage animal that I am.

But you're not much of an artist.

Sit up straight!

Here's Vincent!

He looks furious.

My dear,

I was looking all over for you.

- I was here, with Eurydice.

- That manager fellow is impossible.

We have to wait here

an hour or more.

We'll perform without eating.

Last night's storm wasn't his fault.

Why must you always stick up

for that young fool?

A dead loss.

He's a dead loss!

Why does Dulac keep

someone so useless?

Where are you going?

I'm going outside, mother.

Hello, Mathias.

Where's Eurydice?

She just went outside.

Poor boy. He's mad about her.

Must that fool keep grating his violin?

It's annoying.

He's waiting for the train.

That's no reason.

Do you remember

the Grand Casino in Ostend?

You were so handsome!

Do you remember the first day?

"Madame, may I have this tango?"

"But. Monsieur.

I don't dance the tango. "

"It couldn't be simpler. Madame.

"I'll hold you.

"All you have to do is relax. "

The way you said that!

You held me so tightly

that my dress seams

left their mark on my skin.

The uncertain, unsettling first day.

The seeking, sensing and guessing

before we know one another,

already aware

that it will last a lifetime...

Why did we part two weeks later?

I don't know.

I can't remember.

Were you playing earlier too?

Yes, I was.

You play so well!

You think so?

What's the name of that tune?

I don't know. I make it up...

Eurydice! There you are!

Yes!

I've just seen Mathias.

He's looking for you.

Yes!

Your eyes...

are pale blue.

Yes.

One can't tell what colour yours are.

They say it depends

on what I'm thinking.

Right now, they're dark green.

They say that's when I'm very happy.

Who are "they"?

Others.

Eurydice!

Yes!

Don't forget Mathias!

Yes.

Do you think you make me

very unhappy?

I don't think so.

I'm not afraid of being unhappy

as I am now.

That hurts...

but it's a good thing.

What I'm afraid of

is being unhappy and alone

after you leave me.

I'll never leave you.

Do you swear?

Yes.

On my life?

Yes.

I like it when you smile.

Don't you ever smile?

Never when I'm happy.

Weren't you unhappy?

You don't understand a thing.

What a business!

The two of us are in a fine mess.

Standing here

with all that's going to happen to us

already waiting at our backs.

Are a lot of things

going to happen to us?

Everything. Each thing that happens

to a man and a woman on this earth,

one by one.

Things that are amusing, sweet

or terrible.

Shameful things,

dirty things too...

We're going to be very unhappy.

How wonderful!

You see, my dear,

on this earth where everything

crushes or hurts us.

It's wonderful to think

that we still have love.

My big pussycat...

We're often misled in love,

often hurt.

Often unhappy, Lucienne,

but we love.

And, from the edge of the grave,

we turn to look back and say,

"I've suffered. I've been wrong at times

but I've loved.

I lived this life,

not some being

born of my pride and boredom!"

Bravo, my big pussycat, bravo!

- Was that Musset?

- Yes, my pussycat.

Make them shut up, for pity's sake.

Make them shut up.

For pity's sake, make them shut up!

Monsieur, Madame,

you may not understand.

This will seem very strange.

I'm afraid you must leave.

Leave?

Yes, Monsieur.

- You're closing?

- Yes, Monsieur. For you.

Really, Monsieur...

He doesn't work here.

He had the violin.

You must vanish immediately!

Something very serious

is happening here.

The boy's mad!

Confound it, Monsieur, that's absurd.

This caf is open to all.

Not anymore.

This is too much!

Waiter, excuse me!

Don't call. Go.

I'll pay for your drinks.

Come, he's not in his right mind.

I shall complain to the stationmaster!

They were so ugly, weren't they?

So ugly, so stupid!

Forget about them.

When I was playing.

You walked by and I didn't know you.

Now, everything has changed.

I know you.

They were so ugly, so stupid!

Forget about them.

When I was playing,

you walked by and I didn't know you.

Now, everything has changed.

I know you.

Swear you'll never leave me.

I swear.

Yes, but that's an easy vow to make!

I hope you don't intend to leave me.

If you want me to be happy.

Swear you'll never want to leave me.

Even later. Even for a minute.

Even if the world's prettiest girl

looks at you,

I swear that too.

How false you are!

You'll stay even if the world's

prettiest girl looks at you?

But to know she's looking,

you must look at her too.

My God, I'm so unhappy!

You begin loving me

and already think about other women!

Swear to me...

you won't even notice

that silly girl, my darling.

I'll be blind.

Even if she looks like me?

Even then.

I'd be wary of her.

Do you swear willingly?

Yes, willingly.

All right.

And on my life?

On your life.

If you swear on someone's life.

That other person will die

if you don't keep your oath.

I'm aware of that.

All right. I believe you.

Besides, I'm so easy to mislead,

so unwary.

I'm happy. That's enough.

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Alain Resnais

Alain Resnais (French: [alɛ̃ ʁɛnɛ]; 3 June 1922 – 1 March 2014) was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Night and Fog (1956), an influential documentary about the Nazi concentration camps.Resnais began making feature films in the late 1950s and consolidated his early reputation with Hiroshima mon amour (1959), Last Year at Marienbad (1961), and Muriel (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave (la nouvelle vague), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers previously unconnected with the cinema such as Jean Cayrol, Marguerite Duras, Alain Robbe-Grillet, Jorge Semprún and Jacques Sternberg.In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song. His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives. Throughout his career, he won many awards from international film festivals and academies. more…

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