You Ain't Seen Nothin' Yet Page #4

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


I talked?

I always talk in my sleep.

You didn't listen. I hope?

I did.

See what a traitor you are!

Instead of sleeping like me,

you spy on me.

How can I know what I say when I sleep?

I only understood three words.

You heaved a heavy sigh.

Your mouth grimaced slightly

and you said,

"It's difficult. "

It's difficult?

It's difficult...

What was so difficult?

I don't know, my darling.

I was dreaming.

You rang, Monsieur?

No.

I thought you rang, Monsieur.

Forgive me, Monsieur.

He doesn't seem as worthy

as our waiter at the station.

This one is more mysterious.

Too much so.

I hate people who are too mysterious.

He scares me a little. Not you?

A little, but I didn't dare say so.

Oh! My darling!

Let's hold each other tight!

Luckily, there are the two of us.

We already have lots of characters

in our story.

Two waiters...

in two cafs.

And the station employee.

- With the stutter!

- The lovely man with the stutter.

He was so small and so kind.

But that brute of a conductor...

Ah! The idiot.

Too dim to realize

that we just wanted to pay extra

to go to Marseille.

Yes, him. He was so ugly!

Our first repulsive character.

Our first traitor.

All happy stories have plenty.

But I refuse that one.

I don't want him

in my memories with you.

Too late, my darling.

We're not allowed to dismiss anyone.

So, for the rest of our lives,

that fat, filthy, self-satisfied man

will be part of our first day?

Exactly.

So, just suppose...

If we have seen a lot of ugly things

in our lives,

do they all stay with us?

Yes.

All the nasty images,

all the people,

even those we've hated,

even those we've fled?

All the sad words overheard,

do we keep them deep down inside?

And all the gestures made,

our hands still recall them, you think?

Yes.

Are you sure...

that even the words

we spoke without meaning to

and that we couldn't hold back

are on our lips when we speak?

Yes, my mad fool.

Just a second. Don't kiss me.

Explain instead. Are you sure of that

or do you alone think it?

I'm sure.

We're never alone then,

with all that around us.

We're never sincere,

even when we try with all our might.

If all the words are there,

all the unpleasant laughter,

if every hand that has touched us

is stuck to our skin,

can we never become someone else?

What are you talking about?

I think it's better to say nothing.

Or when everything is simple,

like for us yesterday,

say everything, of course, like me.

You rang, Monsieur?

No.

Forgive me.

I must tell you, Monsieur,

the bell doesn't work.

Rather than ring,

Monsieur should call.

All right.

The double curtains

do work though.

We can see that.

In other rooms, the bell works

but the double curtains don't.

Should Monsieur wish to use them later

and they didn't work,

Monsieur would just need to ring...

Well, call because,

as I just told Monsieur, the bell...

He's our first odd character.

We'll have others.

Did you see he kept staring at me?

You're dreaming.

Forgive me.

Monsieur is needed downstairs

to fill out his registration.

We have to send it off.

I have to come down now?

Yes, Monsieur. If Monsieur can.

All right, lead the way.

A letter to be delivered in person.

I lied about registration.

There's only one floor.

You have half a minute.

Not in the basket!

- Have you known each other long?

- One day.

Usually the best time.

Usually, yes.

You're still here?

No, Monsieur. I'm leaving.

No one was there.

Never mind, Monsieur,

you can do it later.

What was he doing?

Nothing.

He was telling me...

about all the couples

he'd seen in this room.

Wonderful!

Sometimes he feels

that he can see them all.

The room seethes with them.

You listened to such nonsense?

Perhaps it isn't nonsense.

You know everything and you said

all the people we've known

live on in our memories.

Perhaps the room remembers too.

All those who passed through here

are around us,

in each other's arms.

My mad fool!

The bed is full of them.

Actions can be so ugly.

Let's dine

in a place that reeks of garlic,

with glasses a thousand mouths

have drunk from

and a dip in the bench

formed by a thousand backsides

where you'll be comfortable

all the same. Let's go.

You laugh, you always laugh.

You're so strong.

Come, let's leave this room.

For me, it's not so nice anymore.

It's been so short...

You're trembling.

Yes, I'm trembling.

You're so pale.

Yes!

I've never seen that look before.

Don't look at me!

I've been looking at you

since yesterday.

You're a traitor.

You gently scratch my head.

I purr.

I fall asleep.

Then you say, "It's difficult. "

My darling!

What?

I fear it may be too difficult.

What?

Perhaps you thought I was different.

But when you see me as I truly am...

I've been looking at you.

I hear you talk in your sleep.

Yes...

But I didn't say much.

Suppose I fall asleep tonight

and say everything?

What do you mean, everything?

The messy old words, the old stories.

What if one of the characters

told you...

What can they tell me?

Now I know you better than they do.

You think so?

Yes, my love.

Yes, you're right.

She's the woman for you.

Mademoiselle Eurydice, your wife...

I salute you!

Now will you finally come and eat?

Turn the light on now.

Brightness everywhere!

Floods of light! Exit the ghosts.

My darling.

I don't want to see people

in a restaurant.

If you want, I'll go down,

I'll buy a few things

and we'll eat here.

In this room, seething with people?

Yes.

That doesn't matter now.

That will be fun. I'll come too.

No.

Let me go alone.

It will make me happy to shop for you,

just once,

like someone decent.

Buy a lot of things then.

Yes.

Make it a festive meal.

Yes, my darling.

As if we had money.

That's a miracle

the rich can't understand.

Yes, my darling.

Buy flowers for dinner too.

Lots of them.

We can't eat flowers.

You're right.

We'll put them on the table.

We don't have a table.

Buy flowers all the same.

And buy fruit too!

Peaches! Juicy vineyard peaches.

Hurry, I'm starving.

Adieu, my darling.

You say "adieu",

like in Shakespeare?

Yes.

Eurydice!

She just went downstairs.

Don't you remember me?

We met at the station buffet

just as that accident occurred.

We're neighbours.

I have room eleven.

I spoke to you

rather freely yesterday but...

you were both so touching,

there in that deserted room.

A beautiful setting, wasn't it?

Red and dark,

with night falling to a background

of station noises...

Little Orpheus

and Mademoiselle Eurydice...

It's rare to have such a windfall.

I usually don't speak to anyone.

Why bother?

- Are you a musician?

- Yes.

I like music.

I like everything

that is sweet and happy.

In fact, I like happiness.

There are two types of men.

The numerous, fertile, happy ones,

a mass of dough to be kneaded,

that eat sausage, make children,

work, count their money,

year in, year out,

despite epidemics and wars,

until their time is up.

People for everyday life,

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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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Submitted on August 05, 2018

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