You Ain't Seen Nothin' Yet Page #8

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


You like others.

You more than others.

With the tenderness you had,

you'd have torn each other apart.

No!

It would have lasted forever,

until the two of us

had grown old together!

Life wouldn't have allowed you

to get that far. No, little man.

You're all the same.

You thirst for eternity,

yet fear from the first kiss

because of the nagging feeling

that it won't last.

When I tell you that life is wonderful!

Life wouldn't have left you Eurydice.

But Eurydice can be returned to you

for good.

You heard your father

talking about life.

Grotesque, wasn't it? Pathetic.

This farce, this absurd melodrama,

that's life.

I'm offering you an intact Eurydice

with the true face

that life would never have given you.

Do you want her?

Your father is snoring, Orpheus.

Look closely at your young father

and think of Eurydice waiting.

Where?

You always want to know everything.

But that will soon be over.

You'll see how everything

becomes pure, bright and clear.

A world for you, little Orpheus...

What do I have to do?

The night is chilly.

Leave the city

by the road that lies before you.

When the houses thin out,

you'll reach a little rise,

near a small olive grove.

That's it.

That's what?

The place for your appointment

with death.

At nine.

It's nearly time,

don't keep it waiting.

Will I see Eurydice again?

Instantly.

Goodbye...

...little man.

Come in.

He agrees?

He agrees!

Yes, he agrees.

My darling...

Please, come back soon.

My darling, please, come back soon.

He's on his way.

He won't suffer, will he?

He won't suffer, will he?

Did you suffer?

Excuse me, Monsieur.

I'll turn down the covers.

I heard Monsieur speaking.

Am I disturbing him?

I was talking to myself.

That happens to me too.

Tell them to prepare my bill.

I'm leaving this evening.

Yesterday Monsieur said...

I've been thinking.

This time I'm leaving.

Monsieur has finished with Marseille?

Yes.

What time is it now?

Nine exactly, Monsieur.

There he is.

Can he look at me?

Now, yes, without any fear

of losing you.

My darling, you took so long!

Orpheus is with Eurydice at last.

THE CURTAIN FALLS

And yet...

My dear friends...

You are all familiar

with Antoine's sense of staging...

and his love of coups de thtre...

Antoine! You're not dead?

No, I'm not dead.

Although my doctors say

I've never been so close to it.

Don't worry,

I have little faith in their prognosis.

Forgive me for this

but it let me unite you all.

I'm classified as a dramatic author,

but I have a weakness for surprises.

I wanted to see

if you were still fond of me,

and if my Eurydice

was still worth performing.

Of course we are!

Just wait till we tell Zambo!

He's so silly!

Sudden death of the playwright

Antoine d'Anthac

Can he look at me?

Now, yes, without any fear

of losing you.

Orpheus is with Eurydice...

at last.

THE END:

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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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