You Ain't Seen Nothin' Yet Page #6

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


No.

That's good.

Adieu.

You can start all over again.

Don't thank me.

Are you there?

Are you there?

You're there...

Yes, my darling. You took so long.

Yes, my darling. You took so long.

They let me come to fetch you.

But I can't look at you until dawn.

Are you there?

Yes, my darling. You took so long.

They let me come to fetch you.

But I can't look at you until dawn.

Yes, my darling, I know.

They told me.

Come...

We'll wait for dawn here.

When the waiters arrive

for the first train,

at daybreak, we'll be free.

We'll ask them

for hot coffee and food.

You'll be alive.

You weren't too cold?

I was. That was the worst thing.

The terrible cold.

I'm not allowed to speak about it.

I can only talk about the driver

smiling at me in the mirror

and the tanker rushing at us

like a crazed animal!

After that,

I'm not allowed to say.

Are you all right?

Oh, yes!

At your side.

It's handy coming back to life...

It's as if we'd just met

for the first time.

Are you kind?

Are you mean?

What's your name?

Orpheus.

And yours?

Eurydice.

But we're forewarned this time.

Forgive me.

You must have been so scared.

Yes.

It starts as a dull presence

accompanying you,

staring at you from behind,

listening to you speak.

Then it pounces like a wild animal.

First, it's a weight

pressing on your shoulders

and then it shifts,

it starts wearing away at your neck,

strangling you.

You look at others who are calm.

Others...

who don't have a beast on their back,

who aren't afraid

and who say "It's all right,

perhaps she missed her tram

or stopped to chat. "

But the beast starts screaming...

as it digs into your shoulder-blade.

Do people miss trams in real life?

No.

They slip,

getting off before it stops.

They are run down

as they cross the tracks.

Do people stop to chat in real life?

No.

They suddenly go mad,

they're kidnapped, they run away.

Luckily, the waiter came to deliver me

with a clear look of dismay.

When I saw you in that van,

it all stopped,

the fear left me.

They put me in a van?

A police van.

Did I look terrible?

A little blood at your temple.

You seemed to be asleep.

Asleep?

If you knew how I was running.

I was running straight ahead

like a madwoman.

You must have suffered.

Yes.

Forgive me.

There's no need.

They brought me back to the hotel

because of the letter

I wrote to you

on the bus before it left.

You got it?

No. They must have kept it

at the police station.

Will they read it?

They might.

Can't we stop them?

It's too late.

But I wrote that letter to you.

It's like being naked

in front of another man.

Perhaps they haven't opened it.

But I didn't seal it!

I was just doing that

when the tanker hit us.

And that's probably

why the driver looked at me.

I was sticking my tongue out.

It made him smile.

I smiled too...

You could smile, could you?

No, I couldn't.

You don't understand a thing!

I'd just written that letter

to tell you I loved you.

I stuck my tongue out...

to lick the glue on the envelope.

He said something funny

the way those boys do...

Oh, you had to be there to see it.

It's difficult.

It's all too difficult.

What were you doing on the Toulon bus?

I was running away.

Had you had Dulac's letter?

Yes, that's why I was leaving.

What did he say in that letter?

That he would fetch me himself.

And that's why you fled?

Yes, I didn't want you to see him.

- Were you his mistress?

- No!

He told you that I was?

I knew he'd tell you,

that you'd believe him!

I was afraid.

Why not admit it yesterday?

I never was his mistress.

It's best to say everything now.

Just don't lie to me.

Did that man tell the truth?

No!

He lied!

- You were never his?

- No.

If you're telling the truth,

it's easy to tell.

Your eyes are as clear

as a pool of water.

When you lie

or are unsure of yourself,

a darker circle

contracts around your pupils.

The new day will soon dawn.

Soon, my darling.

- You'll be able to look at me.

- Yes.

Deep into your eyes

as into a body of water.

Head first.

Into the depths of your eyes!

Let me stay there!

Let me drown there!

Hold yourself tightly against me.

Warmth, yes.

Warmth other than one's own.

That's more or less sure.

One mustn't be demanding.

Tomorrow,

you'll be able to turn round.

You will kiss me.

Don't speak anymore.

Don't think anymore.

Let your hand

wander over me.

Let it be happy all alone.

Everything would be so simple

if you let it be happy...

I'm so docile and gentle

beneath its caress.

All it asks is to be here.

Don't ask anything of me either.

Accept being happy.

Please...

I can't!

Accept if you love me!

I can't.

Then shut up at least.

I can't!

Some words must still be said.

We must say every word.

And there are plenty of them!

My darling, be quiet. I beseech you!

We've been plagued by words

since yesterday!

I have to look at you now.

Wait. Wait!

Please!

What we have to do

is wait for night to leave,

It will soon be morning.

Everything will get back to normal.

They'll bring us coffee,

fresh bread...

It's too long, waiting until morning.

It's too long, waiting to be old!

Please, my darling, don't turn round!

Let me live!

You can feel me against you,

can't you?

I'm here. I'm soft.

I'm warm and I love you.

I'll give you all the happiness I can.

But don't ask for more than that.

Be content.

Please...

Please don't turn round!

Let me live! I beseech you!

I so want to live!

Live...

Live...

Like your mother and her lover?

With tender moments,

good meals, a little lovemaking

and everything's fine?

I love you too much to live.

That man held you against him?

He touched you

with his ring-covered hands?

Yes.

How long have you been his mistress?

A year now.

Were you with him

the day before yesterday?

Yes.

The day before I met you.

He came to fetch me after the show.

He blackmailed me.

He blackmailed me each time.

Admit that you followed me willingly,

you little liar.

Willingly?

Willingly?

I spat each time you kissed me.

Yes, my dove.

As soon as you let me go,

I would flee.

I would strip naked in my room,

wash and change.

You never knew that!

She's mad!

Why so familiar with him?

That's not true.

You see?

That's typical of her, young man.

You made a mistake.

Forgive me, my darling,

but this is the theatre world.

Vincent and mother are the same.

I'm not overly familiar with him.

It's not because I was his mistress.

I'm familiar with him

because we all are.

It's so difficult...

It's so difficult explaining

all the time!

You said I blackmailed you

that evening as every evening.

Blackmailed you how?

The usual way.

You believed in that blackmail

for a whole year, you little liar?

You see,

you admit you did it for a year!

How did he threaten you?

He threatened to fire me each time

from my post as manager.

He's a fool!

He loses everything!

I don't want him around!

This young man is alone

with his ten-year-old brother.

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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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