You Ain't Seen Nothin' Yet Page #7

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


He provides for them.

You see, I have to handle

all the trunks, all the sets...

On my own.

I'll never manage it!

I'll never manage it!

He's an idiot!

That's it.

I'm dumping him in Chtellerault!

I swear he'll be careful.

Please, Dulac, I swear.

If I keep him on again,

will you be nice to me?

Yes.

And that happened every time.

Forgive me, my darling.

I was a coward.

But I didn't love you then.

I didn't love anyone.

And no one else

could stand up for him.

I'll always see you

with that man's hands on you.

I'll always see you

as he described you.

Yes, my darling.

He wasn't even jealous.

He was laughing:

"A girl like Eurydice has her whims. "

He said that?

"What's yours like?

Hard to wake first thing.

Always with her thrillers... "

He knew you were a coward.

That if he came for you,

you wouldn't stay with me.

Yes, my darling.

Defend yourself, at least!

Why don't you defend yourself?

How can I defend myself?

By lying to you?

I'm untidy, that's true.

I'm lazy. I'm a coward...

It's too difficult.

You see.

It's better if I die again.

If you loved me,

why were you leaving?

I thought I'd never manage it.

What?

Make you understand.

Why do these children

think everything's so sad?

After all, my pussycat,

we were passionate lovers,

but did that make us sad?

Certainly not!

As I always say:

A little love, a little money,

a little success

and life is good!

A little love? A lot of love!

She thinks she invented it all

with her violinist.

But we adored each other too.

We wanted to kill ourselves

for each other.

We loved each other so passionately

it could have killed us...

But did we die of it?

You poor fool,

you should have listened to me for once!

Forget it, mother,

we have no time left.

You see, my darling, we can't complain.

In trying to be happy,

we might have been like them.

How hideous!

Hideous?

Why hideous?

Why didn't you admit everything

that first day?

I might have understood.

It's too difficult, my darling.

I'd only get confused again.

And I don't have time now.

Forgive me.

Don't move.

Who are you, Monsieur?

The police inspector's secretary,

Mademoiselle.

The one who has my letter...

Give it back to me, please.

I can't do that.

But the inspector won't read it.

I have it here.

I reread it every day.

With me, it's different.

"My darling,

I'm on this bus

while you're waiting in our room

and I know

that I won't be coming back.

I'm leaving, my darling.

Since yesterday, I was afraid

and you heard me say in my sleep.

'Lt's difficult. '

You thought I was beautiful.

I mean beautiful on a moral level.

I could never have managed it.

Especially now that man is coming.

He sent me a letter.

I didn't tell you about him,

but he was my lover too.

Don't think I loved him.

You'll see, he is impossible to love.

That's why I'm leaving, my darling.

All alone.

I'm leaving

because I'm blushing with shame.

I'm going away, my captain,

and I'm leaving you

because you taught me

that I was a good little soldier. "

Forgive me, Eurydice.

Don't, my darling.

You must forgive me instead.

I have to go.

Eurydice!

Good morning, Monsieur.

It's a bit nippy today.

Can I get you something?

Yes.

Anything you want. A coffee.

Very good, Monsieur.

You're here, son?

I didn't take the train to Perpignan.

It was full.

Packed to bursting, my boy.

And the brutes

tried to make me pay extra.

I got off again.

Do you want a coffee?

Yes.

Yes.

I wouldn't mind one too.

I spent the night in the waiting room.

So what have you decided, son?

Now that you've slept on it.

Are you coming with me?

Yes, father.

Yes, father.

I knew you wouldn't abandon

your old dad.

Let's celebrate and treat ourselves

to a slap-up lunch in Perpignan.

I know a place there

with a fine fixed price menu.

Wine, coffee and brandy included.

Yes, my boy.

And for two euros more,

you can have lobster

instead of the starter.

The good life, my boy.

Yes, father.

Yes, father.

The good life, son, the good life.

Yes, father.

ACT FOUR:

Is this a "merveillitas"?

Yes.

A cigar like this

must cost a pretty penny.

Yes.

Don't you smoke?

No.

Pull yourself together, my boy!

Give him a "merveillitas".

If you don't finish it, I will.

When I feel sad, a good cigar...

You must get up, Orpheus.

You must get up, Orpheus.

Exactly. I'm wearing myself out

telling him that.

No.

He won't listen to his father.

You have to get up

and resume life where you left it.

We're expected in Perpignan.

Shut up!

We're expected in Perpignan.

Where's the harm in that?

I'll never go back to you.

Why wouldn't you go back to him?

I find your father charming.

Besides, you know him.

That counts for a lot.

You can tell him to shut up

or walk with him without speaking.

Imagine the ordeal of life without him.

Fellow diners' likes and dislikes.

Old ladies questioning you

with affectionate interest...

Go back to your life with your father.

He'll make his daily remarks

on these hard times,

on fixed price menus...

It will keep you occupied.

Talking of fixed price menus,

the "Jeanne-Hachette" is good.

Do you know it?

It's popular with your colleagues.

No.

I know...

A fine "Jeanne-Hachette" menu

with a good cigar.

Come to Perpignan, son.

No, father.

You're wrong, son.

That's right, Orpheus, you're wrong.

Listen to your father.

The "Jeanne-Hachette" is

the best place to forget Eurydice.

I'm not saying it's one huge blow-out.

But you eat well.

You won't find Eurydice's ghost

at the "Jeanne-Hachette" in Perpignan.

You should run there, Orpheus.

I want to forget her?

You must, old chap.

Come on.

Get up. Follow your father.

You'll have a fine career

among the living.

Life is there.

What can you do but live it?

Life is there.

Life is there, Orpheus.

Listen to your father.

I don't react to misfortune

by saying, "That's life. "

What do I care if that's life?

If a million grains of sand are crushed

along with me?

Your brothers, as they say.

I hate them all,

every last one of them.

So don't try to turn the crowd

into a loving sister.

We're alone. We're totally alone.

That's the one sure thing.

You're alone

because you've lost Eurydice.

Remember what life

had in store for you...

being alone one day

with Eurydice still living.

No.

Sooner or later,

in one year, in five years,

in ten years,

still loving her perhaps,

you would see that you and Eurydice

no longer desired each other.

No.

It would be simple.

You would be the one

to cheat on Eurydice.

Never!

Why shout so loud?

For your sake or for mine?

Lmagine, if you prefer,

that you would want to cheat on her.

That's no better.

Besides, she might have

abandoned you first.

No.

Why not?

Because she loved you yesterday?

Affection can be resistant.

She might have found

a way of loving you

before going to meet her lover,

so humble, so kind,

to ensure you'd be happy in a way.

That's true.

No, not us!

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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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