Š-DR-Bio / Filmo de Charles Denner

03/04/2014 19:31 par tellurikwaves

Charles Denner est (était) un acteur de théâtre et de cinéma, né le 28 mai 1926 à Tarnów en Pologne, mort (décédé) le 10 septembre 1995 à Dreux.

Après la guerre, il s'initie au théâtre en entrant au cours d'art dramatique Charles Dullin. Il y suit des cours le jour et travaille comme fort des Halles la nuit. Après un passage par ce qu'on appelait à l'époque les jeunes compagnies, Charles Denner entre au Palais de Chaillot dans la troupe du Théâtre national populaire dirigée par Jean Vilar. Au Festival d'Avignon, également créé par Jean Vilar, il donne la réplique à Gérard Philipe en 1951 dans Le Prince de Hombourg (von Kleist). Au TNP encore, il joue avec Jeanne Moreau, François Périer, Michel Galabru et bien d'autres comédiens célèbres de cette génération qui firent comme lui leurs débuts dans ce haut lieu de l'art dramatique français.

Plus tard et toujours au TNP alors dirigé par Georges Wilson, il donne aussi une belle vision de son talent dans le rôle de Matti dans Maître Puntila et son valet Matti de Bertolt Brecht, mis en scène et joué par Georges Wilson, avec Judith Magre.Des années plus tard, il joue un Rogogine magistral en duo avec Philippe Avron dans L'Idiot de Dostoïevski, mis en scène par André Barsacq au Théâtre de l'Atelier.

Après une apparition dans Volpone en 1941, Yves Allégret lui offre un petit rôle au cinéma en 1955, dans La Meilleure Part, suivi deux ans plus tard par Louis Malle dans Ascenseur pour l'échafaud. Claude Chabrol le remarque et lui donne le rôle de Landru après l'avoir vu dans le rôle de composition terrifiant de Gori (Goering) dans La Résistible Ascension d'Arturo Ui de Bertolt Brecht, jouée et mise en scène par Jean Vilar.

Comédien de composition brillant, il sait incarner une grande variété de registres et de personnages qui vont des anarchistes moraux aux petits et grands voyous, des apatrides aux artistes et séducteurs. Il est remarquable dans Landru en 1963. On le voit aussi dans L'Héritier, puis surtout dans L'Homme qui aimait les femmes de François Truffaut pour lequel il vient supplanter un moment le personnage fétiche d'Antoine Doinel.À partir de 1970, il joue dans cinq films de Claude Lelouch dont le premier est Le Voyou.

Sa santé se dégrade alors qu'il monte pour la dernière fois sur scène pour incarner le Marionnettiste de Lodz de Gilles Segal, mis en scène par Jean-Paul Roussillon. Un one-man show signe la fin de sa carrière en 1986. Pendant l'hiver 1986-1987, à la suite du froid et à de multiples bronchites, ses poumons sont touchés. À partir de 1987, ses déplacements sont rendus difficiles, et il doit rester à son domicile, où une machine à aide respiratoire est installée. Il fut ainsi alimenté en oxygène par un tuyau, ou une sonde.

À la suite de cette maladie, il doit dans un premier temps abandonner le théâtre, dès décembre 1986, et son one-man show, puis, le cinéma, et la télévision, et ce à titre définitif. Ensuite, avec les années, il doit vivre de plus en plus reclus chez lui, et a de plus en plus de mal pour parler, sa demande en oxygène étant de plus en plus exigeante.Nathalie Rheims a écrit son livre L'un pour l'autre en 1999 autour de Charles Denner.Il est inhumé au cimetière de Bagneux.

Vie privée

Charles Denner a été marié deux fois. Du premier mariage sont nés deux enfants Charlet et Ethel.

Filmographie

Cinéma
1941 : Volpone de Yves Allegret : apparition
1951 : Avignon, bastion de la Provence - court métrage - de James Cuénet (narration)
1954 : Poisson d'avril de Gilles Grangier : un consommateur au café
1955 : Les Hommes en blanc de Ralph Habib : un interne
1955 : La Meilleure Part d'Yves Allégret
1957 : Ascenseur pour l'échafaud de Louis Malle : l'adjoint de Cherrier
1962 : Landru de Claude Chabrol : Henri-Désiré Landru
1964 : Mata Hari, agent H21 de Jean-Louis Richard : Soldat#1
1964 : L'Aube des damnés d'Ahmed Rachedi - Uniquement la narration
1964 : La Vie à l'envers d'Alain Jessua : Jacques Valin
1964 : Les Pieds nickelés de Jean-Claude Chambon : Filochard
1964 : Les Plus Belles Escroqueries du monde de Claude Chabrol
1965 : Marie-Chantal contre docteur Kha de Claude Chabrol : Johnson
1965 : Compartiment tueurs de Costa-Gavras : Bob
1966 : Le Vieil Homme et l'Enfant de Claude Berri : le père de Claude
1966 : YUL 871 de Jacques Godbout
1966 : Le Voleur de Louis Malle : Cannonier
1967 : Héraclite l'obscur court-métrage de Patrick Deval : Récitant
1968 : La Mariée était en noir de François Truffaut : Fergus
1968 : La Trêve de Claude Guillemot : Julien
1969 : Le Corps de Diane de Jean-Louis Richard : Julien
1968 : Z de Costa-Gavras : Manuel
1970 : Le Voyou de Claude Lelouch : Gallois
1971 : Les Mariés de l'an II de Jean-Paul Rappeneau : le voyageur
1971 : Les Assassins de l'ordre de Marcel Carné : Graziani
1972 : L'aventure c'est l'aventure de Claude Lelouch : Simon Duroc
1972 : Une belle fille comme moi de François Truffaut : Arthur
1973 : Les Gaspards de Pierre Tchernia : le ministre des travaux publics
1973 : Un officier de police sans importance de Jean Larriaga : Serge Monnier
1973 : L'Héritier de Philippe Labro : David Loweinstein
1973 : Défense de savoir de Nadine Trintignant : Ravier
1974 : Toute une vie de Claude Lelouch
1975 : Vous ne l'emporterez pas au paradis de François Dupont-Midy : Nicolas
1975 : Peur sur la ville d'Henri Verneuil : l'inspecteur Moissac
1976 : La Première Fois de Claude Berri : le père
1976 : Mado de Claude Sautet : Reynald Manecca
1976 : Si c'était à refaire de Claude Lelouch : l'avocat
1977 : L'Homme qui aimait les femmes de François Truffaut : Bertrand Morane
1978 : L'Affaire Savolta de Antonio Drove : Lepprince
1978 : Robert et Robert de Claude Lelouch : Robert Goldman, l'homme d'affaires
1980 : Le Cœur à l'envers de Franck Apprederis : Guillaume
1982 : L'Honneur d'un capitaine de Pierre Schoendoerffer : Avocat Gillard
1982 : Mille milliards de dollars de Henri Verneuil : Walter, le détective
1983 : Stella de Laurent Heynemann : Richard
1983 : Les Années 80 de Chantal Akerman
1983 : Rock 'n Torah ou Le préféré de Marc-André Grynbaum : Joseph, le père d'Isaac
1986 : L'Unique de Jérôme Diamant-Berger : Vox, le producteur
1986 : Golden Eighties de Chantal Akerman : M. Schwartz

Š-DR- LA VIE ŕ L'ENVERS de Alain Jessua (1964) p2

03/04/2014 18:49 par tellurikwaves

Critique de Magrol (ALLO CINE)
Un des films les plus justes et les plus fascinants qui aient jamais été tournés sur la question de la psychose. À partir d’un roman écrit par lui-même, Alain Jessua retrace l’itinéraire inéluctable d’un homme dans le déclenchement de sa folie.

Charles Denner incarne de façon fabuleuse ce personnage hanté par les formes au point de se fondre peu à peu en elles au point de perdre toute notion de l’altérité. Le passage, si progressif qu’il en est imperceptible, du monde « normal » à celui où Jacques Vallin se réfugie de plus en plus, est rendu parfaitement au niveau cinématographique par une variation vertigineuse sur les sons, les formes et les lumières.

Le noir et blanc des images notamment, à travers une infinité de nuances de gris, témoigne d’une manière étonnante de l’éprouvé halluciné de cet être humain en proie à la question de son identité et du vide de la vie. Sans les symboles permettant de le décrypter, les choses, les êtres, le temps, perdent leur sens et deviennent des lignes et de la lumière pures. La fin est étonnante, rendant compte de cette « paisibilité » qui peut accompagner - pour un temps - les « fous » dans leur monde à part…
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It Will Turn Your Life Upside Down

Author: Bill Kamberger from Baltimore, MD
12 April 2000
 

Jessua has never achieved the fame of Truffaut and Resnais, but he was at least their equal in talent. In this, his finest film, he explores a young man's withdrawal from Parisian bourgeois life into a world of his own. Is the man going insane? By conventional standards, yes, but it's clear that the life he's fleeing is madder still. Moreover, since we hear and see the events from his point of view, and since that point of view is unfailingly witty and astute about the underlying if not the literal truth, we even come to accept his delusions as more "real" than reality. The writing finds humor in the bleakest situations, while the direction reveals a Zen spirituality in the most banal images. Denner's performance is enough to give "psychotic charm" a good name, and he manages to be heartbreaking without ever resorting to obvious pathos. In short, a masterpiece.

4 out of 5 people found the following review useful:

A unique movie of benign schizophrenia (not split-personality)

Author: pluckpurr from United States
2 December 2010

I saw this movie on television in the late 19sixties - and was mesmerized - and haven't seen it since. I just checked Amazon and there is someone selling a video of it for $198.00. It is a very sweet film. Charming. Intelligent. Poetic. If you like taking walks in Springtime in a local uncrowded park, you might find it refreshing. There is a subtle ardor about it. It doesn't seem to 'pretend' anything. The 'Mystery' of it unfolds delicately, bit by bit, frame by frame. The 'Sorrow' of it is not built on mountains of angst, but rather a humorous metamorphosis that compares ordinary life to a pure renunciation of the trappings an ordinary life instills and sustains. Not a movie for 'Followers'. The 'Hero's' mindset or mental condition is obviously clinical, yet there is a simple beauty in it, something a person who grows up on a diet of 'Malls' will never understand.

Alain Jessua was one of the great mavericks of the French cinema;he was too modern to be labeled "old school" but he had ,fortunately,nothing to do with Godard,TRuffaut and co.Simply ,from this debut to "Paradis Pour Tous" (1982),he has never produced anything mediocre (let's be nice and forget the final works ).

"La Vie A L'Envers " begins with a tape played backwards ;a man is tired of his girlfriend ,of his nine-to-five work and decides to live without the others -I'm watching you,but I don't see you" -and the things ;it was the beginning of the sixties and France was entering the consumer society ,a society which was omnivorous in its appetite for apartments ,cars ,food ;and the main character turns this down;he has made his this sentence from " fight club" 'the things you own ends up owning you" ;and his bubble head girlfriend is a nuisance to live with at home,with her petty ambitions ("there's one of my movies just out ,let's go to the theater":the "movie" in question is an unbearable commercial )and her longing for a bourgeois life .It's not only misogyny:he even can do without his best friend ( "a friend I never see;"it's better that way" ).In an empty room ,he's never been so happy .When the doctor (the last human being he meets ) tells him he has a friend who can give him a nice place to live provided he continues his "work" (his recorded frame of minds),we think of an insane asylum right now.

Charles Denner gives a great performance of this rebel without a cause :no political or sentimental reason for such a behavior,and we never have the impression that the character is going insane . When he begins to enter "his" world ,he walks through a subway corridor covered with posters which read 'trust yourself".

In his sophomore effort ," Jeu De Massacre " ,Jessua would continue his study of deviancy: this time the hero,who makes up incredible stories , disappointed by a routine life and under an over possessive mother 's thumb,tries to live as a comics' hero; "Armaguedon" is " Vie A L'Envers " in reverse:the hero tries to attract the crowds ' attention by becoming some kind of terrorist ;and in his (at least to my eyes) final important work "Paradis Pour Tous" ,a shrink has found a new way of treating depression.

Between 1963 and 1982,Jessua only made six movies ,but they are all interesting ;to someone who would discover him,I 'd suggest "Traitement De Choc"(1972) ,his most accessible effort.

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Voilà c'est tout.Une seule photo;pas de Trivia,de critiques ni de sites externes

Š-DR- LA VIE ŕ L'ENVERS de Alain Jessua (1964)

03/04/2014 12:46 par tellurikwaves

La Vie à l'envers est un film français réalisé par Alain Jessua et sorti en 1964.

Résumé

Jacques Valin employé dans une agence immobilière de Montmartre mène une vie sans problème, en compagnie de son amie cover-girl. Mais un jour, fatigué de la routine, il s'enferme dans la solitude et plonge peu à peu dans une folie heureuse.

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Fiche technique
Titre : La Vie à l'envers
Réalisation : Alain Jessua
Assistant réalisateur : Christian de Chalonge
Scénario : Alain Jessua
Photographie : Jacques Robin
Son : Jean-Claude Marchetti
Décors : Olivier Girard
Montage : Nicole Marko
Musique : Jacques Loussier
Société de production : A. J. Films
Pays d'origine : France
Tournage : du 12 août au 28 octobre 1963
Genre : Comédie dramatique
Durée : 92 minutes
Date de sortie : 24 juin 1964

Cast
Charles Denner : Jacques Valin
Anna Gaylor : Viviane
Guy Saint-Jean : Fernand
Nicole Gueden : Nicole
Jean Yanne : Kerbel
Yvonne Clech : Mme Kerbel
Jean Dewever

Š-DR-L'HOMME QUI AIMAIT LES FEMMES de François Truffaut(1977) fin

03/04/2014 12:41 par tellurikwaves

Pas trouvé grand chose,mais je m'y attendais...le prochain ça devrait être pire

Š-DR-L'HOMME QUI AIMAIT LES FEMMES de François Truffaut(1977) p8

03/04/2014 12:33 par tellurikwaves

Brigitte Fossey : Geneviève Bigey (l'éditrice)

Š-DR- L'HOMME QUI AIMAIT LES FEMMES p7

03/04/2014 12:30 par tellurikwaves

A really good movie about a man who was just crazy about women.

Author: (staycoolguy@yahoo.com) from France
26 March 2000
 

This movie is just wonderful, a kind of masterpiece as for its construction, its dialogues and the actors' performances. The first image sets the scene very clearly : Bertrand Morane's burial attended only by women. No guys in the funeral procession. Twenty or so lovely middle-aged females are following their (former) lover's last trip. One of them, Brigitte Fossey, Bertrand's last girlfriend, comments, from backstage, on this unusual situation and explains, incidentally, what the film 's gonna be : a flashback to Bertrand's life. How does she happen to know about it ? Thanks to Bertrand's book she has recently edited for him and called "The man who loved women" (passed tense works here as a premonition). The author describes his passion for women and focuses on some of them. Inspired directly from the Bertrand's life (and from the director's life as well), his narrative is informal, genuine, sometimes contradictory but never pedantic nor rude. He remembers his love affairs, his bad and good times, and, most of all, tries to express his feelings to such an extent that is story must be seen as an auto-analysis, the writer's personal attempt to understand his personality rather than a woman chaser's curriculum vitae. Come to that, Charles Denner, the lead, shows us very well that his character's everything short of a sexist and self-confident womanizer. He fell in love once, but this experience turned out to be a real disappointment. Now, he feels as if he were unable to love anymore. So, he's `collecting'. He may have shortcomings, he may have fun picking up beautiful girls wherever and whenever he can, he may not be the kind of faithful and steady guy a good many girls usually like, his behavior might be considered as outrageous by some, the thing is he's a sensitive, affectionate, simple and nice person who knows how to make women happy and comfortable. Each mistress's chosen for a particular reason, a physical standard (behavior, way of walking, voice..) but all share one thing : they have long, smooth and attractive legs. All in all, `The man who loved women' is a mighty good film, worth watching it.

20 out of 26 people found the following review useful:

François Truffaut does it again

Author: caspian1978 from Boston, MA
14 January 2005

Another terrific character driven movie, François Truffaut creates a story that makes you laugh as well as cry. Charles Denner stars as a fan of the ladies. More than that, he is in great need of woman so much that is ends up to be his doom. The movie begins at the end, with the funeral. Like Hitchcock, François Truffaut makes a cameo at the beginning as his trademark. From there, we begin to see who this man was and why is urge for women caused his death. A very sexy film for 1977, it is still as funny today than it was almost 30 years ago. Unlike American movies, it is very difficult to have a scene with just words and no action. Many scenes in the movie are one shot scenes with nothing but pages of words, words and more words. This is the movie's strong point, besides having several beautiful women. The language (not just French) in the movie is powerful to its audience. It speaks to both men and women.

15 out of 18 people found the following review useful:

François Truffaut--The Man Who Loved Women

Author: Tamir Mostafa (filmhaven@yahoo.com) from Rockland, New York
16 January 2003

During the same year that Close Encounters of The Third Kind came out, in which he played a part in, François Truffaut released The Man Who Loved Women. The title could easily apply to Truffaut himself. Truffaut loved women and in all of his films he explores the theme of love and all the conflicts that can assail when we are in such a state.

In the Man Who Loved Women, Bertrand Morane is the man who loves women and early on in the film Truffaut makes his Hitchcock like cameo. But the character could easily have been played by Truffaut. The film begins with a woman telling us of Bertrand and the many women who loved him. Women who attend his funeral. In fact women who loved him are the only ones at his funeral. Once Bertrand pops up as a living character he narrates his own tale and tells us how he came to write a book entitled "The Man Who Loved Women." It was to resolve all the conflicting emotions he feels for all his loves that he started the book. The "book" is really the film. Bertrand is a man, and yes I may be redundant here, who loves women to the point of obsession. He sees a pair of legs pass him and he follows the legs to a car which he only gets a license plate for. He goes about contacting the driver of the car. In the process he meets another woman and so on and so on. Each woman a tale in his book, each woman he takes very seriously. Every single woman effecting him deeply. Bertrand has many loves but he is not the type of "Romeo" who uses his loves then throws them to the street. It is usually a case of things not working out that leads to a split in his relationships. The women are too strange, such as the case of the women who can only make love in public places or under circumstances of "danger." Or perhaps they feel he does not love them. Or they feel they can not love him in the way he seeks them to.

Bertrand is seldom alone, prompting him to say at one point, while typing his memoir alone in his apartment, "I cherish my moments of isolation." For two hours we follow Bertrand's adventures as he genuinely falls for almost every woman he meets and some that he doesn't, such as the operator who calls him every morning at seven to wake him up. Bertrand is a homely man yet one imbuing a charm and sensitivity that as one woman says, "Feels like it is very important when you ask for something. Like you will almost die if you don't get it." He is hard to resist and so is the funny, charming, deep, introspective, dramatic, sometimes melodramatic, part autobiographical film from Francois Truffaut. I give it a 8 out of 10. It's not as cinematic as some of his earlier films but it certainly is better than the current trends of either domestic or foreign films. Truffaut passed away too soon and it is the cinema's loss in every way.

12 out of 16 people found the following review useful:

a very good movie--particularly the ending

Author: planktonrules from Bradenton, Florida
15 August 2005

If this movie had JUST been about the sexual escapades of the main character, I would have hated it. After all, this is a man whose entire existence is based on bedding women--and this alone would have made a boring movie. Instead, it shows the emotional shallowness of this character and his complete inability to be close to another person--and its ultimate impact on him. He doesn't see this as a problem, but during the latter part of the movie, its impact on him becomes apparent. I particularly liked the unexpected ending. As the movie begins, it is at his funeral, so you KNOW he will die but HOW is the real interesting twist.

About the only thing I did not like about the movie was the episodic nature. Sometimes it was a little hard to keep track of all the women. Perhaps this was unintentional, as there were a LOT of women in this man's life! Of course, it did serve to illustrate his problem!!

6 out of 8 people found the following review useful:

Memoirs of a Womanizer

Author: Claudio Carvalho from Rio de Janeiro, Brazil
24 December 2010

In 1976, in Montpellier, the funeral of the engineer Bertrand Morane (Charles Denner) is attended by several women. The lonely Bertrand works in a laboratory in a ship model basin and wind tunnel for aircraft testing and loves books and women, spending his leisure time seducing women and reading. Along his life, Bertrand makes love to the most different type of women and decides to write a book telling his love affairs.

"L'Homme qui Aimait les Femmes" discloses the memoirs of a womanizer. This sensual and funny film is a great tribute to the beautiful French women with lovely French actresses. The romances of Bertrand are provoking and charming and his character shows that a man does not need to be handsome to be seductive and conquer women. Last but not the least, Bertrand is a man that follows the poetry of the French Henri de Régnier (1864-1936): "Love is eternal while it lasts". My vote is seven.

Title (Brazil): "O Homem Que Amava as Mulheres" ("The Man Who Loved the Women")

9 out of 14 people found the following review useful:

A brilliant movie, about the thoughts of a man that loved women.

Author: DrBanana (cremebanane@yahoo.com) from Boston, USofA
24 October 1999

The first time I saw this movie, I hated it. The narrative structure wasn't what I was used to, and the movie as a whole seemed distorted and I wasn't sure what it is going too.

Three years later, haven deepened my culture with books such as "L'amant" de M. Duras, movies such as "Emmanuelle". I started really to appreciate this movie. It is about reality, a man who isn't afraid to scribble down all his memoirs and thoughts. Of cause, at first it seemed very self contradictory, but life is full of contradictions. It is hard to find someone nowadays to have the courage to share all his feelings and thoughts despite all the social values we have been raised with.

A brilliant, brilliant movie, only if you could understand the whole of it.

9 out of 15 people found the following review useful:

Superb!

Author: dbjmoore from United Kingdom
20 April 2006

Far superior than the shoddy and self promoting Burt Reynolds remake. Excellent performances and a classic. Anyone interested in NLP and Speed Seduction should watch this as it is a great reference resource of "Unconscious Competence". The guy knows what he is doing...but doesn't know how he does it. Shame the ending is given away at the start but that only compounds the deep impact the guy had on all of the women. The fact that he is over fifty gives hope for us all. I have no issue with the amount of women involved. If it was the other way around, in these so called 'enlightened' times, when women have so much focus, she would have been applauded as a woman who takes control! Pour a glass of red wine and enjoy.

4 out of 6 people found the following review useful:

Not a Film as Much as A Seductive Cinematic Pleasure

Author: Jay Raskin from Orlando, United States
29 April 2010

*** This review may contain spoilers ***

This is the eight feature film by Francois Truffaut that I have seen. He made 25 feature films over a 24 year period from 1959 to 1983.

What I find most interesting about Truffaut's development is how conventional he became. With "Jules and Jim," (1960) he broke every rule of cinema convention. Here, 17 years later, he does a movie that is a model of Hollywood conventionally. It is so conventional that Hollywood soon copies it into an American version starring Burt Reynolds, (a film which also has its merits.) In conventional cinema the audience is meant to identify with a character subjectively. The ability to cut shots so the viewer becomes part of the action, seeing what a character sees and feeling what a character feels, is the essence of conventional Hollywood cinema. Here we are meant to identify solely with "the skirt-chasing" hero. Yet the hero seems to be only a stand-in for Truffaut himself, or at least a vision of Truffaut that he would like the audience to have of him. Because Trauffaut is a master of cinema as his hero Hitchcock was a master of cinema, we, the audience, do identify with the hero.

It is only at the moments when we are looking at the course, rough facial features of Charles Denner, when we see him as being 6 years older than Truffaut and not nearly as handsome that we find it hard to accept him as a man with the power to sweep women off their feet. If Truffaut is the lover Bertrand Morane, Danner is not. However, it is only at moments when we cast ourselves into the roles of the quite beautiful women in the film that this becomes a problem. It is curious that Jean-Pierre Léaud did not play the lead in this film as he personified Truffaut in so many other films.

In any case, even if Danner is not so handsome, we feel the pleasure of the successful seducer. It is a pleasure that even death cannot wipe out. However, because of the conventionality of the film, we do not feel the joy of the new wave.

One day, someone will make a movie about two brothers, one named Francois and the other Jean Luc. The first brother created conventional works of art that were masterpieces of subjective narrative, the other brother took a Brechtian delight in exploding those conventions and making sure that we never identified with a character, but only studied them. I am think, amazingly, although their paths diverged considerably, they may have arrived at the same peak of cinematic art.

5 out of 8 people found the following review useful:

Truffaut's love for women in film form

Author: skcampbell from Canada
29 May 2007

*** This review may contain spoilers ***

The first half of The Man Who Loved Women is absolutely wonderful it is picture perfect. The second half, especially a large chunk about Bertrand's (Charles Denner) love affair with a somewhat unstable married women drags a little bit. This dose not mean that it is a boring film, on the contrary, it is a joy to sit through. Bertrand loves women (as the title hints at), he loves women so much he cant stop himself from going too great lengths to talk too a beautiful women. He will do anything necessary, he dose not care about the way he is perceived or if he will be rejected, he goes completely on instinct without thinking about any outcome or what might happen, he just must talk to any women that peaks his interest. Bertrand is not Don Juan he just has a natural, and somewhat unstoppable way of falling in love with every woman he sees, or in the case of his wake up telephone service, hear. Women are intrigued or attracted to his non-threatening natural nature. In fact at one point one women says that she could never refuse him of anything because of the "way he asks for it". Truffaut creates a complete dream world were every women it beautiful, every women has a perfect figure, every women walk and moves like a ballet dancer. Truffaut obviously loves women he loves everything about them, everything! He creates this world that all men would love to be a part of. Truffaut (and his writing partners) do a wonderful job of creating a character that we can love while at the same time be fascinated by his whimsical attitude to life. He has no friends, he dose not associate with any men outside of a work environment. He has one interest, one hobby, one passion, that being women. Charles Denner plays this role perfectly, he has the sort of absent minded professor quality, Bertrand has one thing on his mind only and its written all over his face. Though there are uneven moments and some situations feel contrived, this is a beautiful, funny, touching and at times though provoking film. Enthusiastically Recommended !!

1 out of 1 people found the following review useful:

From it's title to it's ending a great movie by Francois Truffaut

Author: Tony Florimon from Dominican Republic
28 November 2013

From it's title to it's ending The Man Who loved women is a great movie. Francois Truffaut displays all his mastery of the cinematographic language.

The editing, performances and dialogues all contribute to the film's subtle but engaging rhythm. The movie revolves around Bertrand Morane, a gifted womanizer who starts evaluating his life by remembering past love affairs.

Bertrand's love life is a comical and insightful story, that combined with Truffaut's brilliant direction and a perfect script make "L'homme qui aimait les femmes" a very entertaining and original movie.

Beautiful french women, great cinematography and Charles Denner's acting. There are no mistakes in this film, very recommended.

Š-DR- L'HOMME QUI AIMAIT LES FEMMES p6

03/04/2014 12:25 par tellurikwaves

Š-DR- L'HOMME QUI AIMAIT LES FEMMES p5

03/04/2014 12:15 par tellurikwaves

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• Movieman.de - DVDReview (German)
• Old School Reviews [John Nesbit]
• Ozus' World Movie Reviews [Dennis Schwartz]
• reelist [s.w. black]
• The House Next Door [Aaron Cutler]
• WWW.IN.GR (GREECE)

Š-DR-L'HOMME QUI AIMAIT LES FEMMES de François Truffaut(1977) p4

03/04/2014 12:05 par tellurikwaves

Réception critique

C'est l'un des films préférés du réalisateur Bruno Podalydès. Dans un entretien aux Cahiers du cinéma en 1998, il explique :« Je suis tombé dans Truffaut quand j'étais petit. J'adore particulièrement L'Homme qui aimait les femmes et j'avais pensé qu'Albert Jeanjean pouvait mourir en se faisant renverser par une voiture »

Autour du film
-Remake américain en 1983 : L'Homme à femmes (The Man Who Loved Women) de Blake Edwards avec Burt Reynolds et Julie Andrews

-Le film fut tourné en partie à Montpellier.

-Leslie Caron tourna en 1959 dans un film intitulé The Man Who Understood Women (en), d'où vient peut-être le titre choisi par Truffaut.

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Fiche technique
Titre : L'Homme qui aimait les femmes
Réalisation : François Truffaut
Scénario de François Truffaut, Suzanne Schiffman, Michel Fermaud
Musique : Maurice Jaubert
Son : Michel Laurent
Photographie : Néstor Almendros
Montage : Martine Barraqué
Décors : Jean-Pierre Kohut-Svelko
Costumes : Monique Dury ; Ted Lapidus pour Brigitte Fossey
Production : Marcel Berbert (non-crédité au générique) pour les Films du Carrosse
Directeur de Production : Marcel Berbert
Format : Couleurs - 1,66:1 - 35 mm
Date de sortie : 27 avril 1977
Durée : 118 minutes

Š-DR-L'HOMME QUI AIMAIT LES FEMMES de François Truffaut(1977) p3

03/04/2014 11:13 par tellurikwaves

Sites externes

Miscellaneous Sites

• biosAgenda.nl (Dutch)
• Film-Fan.Net (German)
• Filmhai - info (German)
• IMCDb.org: cars, bikes, trucks and other vehicles seen in this production
• Indiemoviez (Spanish)
• SoundtrackCollector - Soundtrack Information
• Zelluloid.de (German)

Photographs

• MovieQuiz - Image Gallery
• filmposter-archiv.de - German movie poster