Wise Guys Page #2

Synopsis: Roland, an idler living on the Left Bank in Paris, is determined to inflict a terrible revenge on his friend Arthur, after the latter subjected him to a harmless joke. He engages the services of the seductive Ambroisine, who pretends to fall in love with Arthur. Oblivious to his friend's scheming, Arthur is certain that Ambroisine's feelings for him are genuine and looks forward to their wedding day.
 
IMDB:
6.5
Year:
1961
99 min
177 Views


Massenet, Bruno, Lon Devi,

Rimsky-Korsakov...

Come on, tell us what the cross means.

What?

The cross, here.

Come here and sit down.

It's funny how comfortable I am with you.

Show me what you look like without glasses.

Ok, but I can't see without it.

Who are these people?

I beg you pardon.

What are they doing?

I wonder.

Take off your tie.

Are you undressing me?

- Yes.

- Really?

It's better like that.

And your collar...

Well, it's more decent.

You look American like that.

- Sportive?

- Yes.

That's how I love it.

I'm going to the dining room.

Your house is very sweet.

Did you see the whole house?

How noisy.

I'll tell them to lower.

No no no no no no...

They are doing it for Rimsky-Korsakov.

I don't care, it's beautiful.

It was for you.

It's the domestic.

She is Spanish.

You have to bear their idiosyncrasy

if you want to keep them.

Ronald, sonny boy,

I really need you

for my annual donation.

You know dear aunt

that as long as it concern charity

I'll be here for you.

Find me some sideshow.

Attractions that would be original.

Decorate my summer room.

You have delightful tastes.

Good bye. See you later.

Come back. Good bye.

Tell me, will you introduce me

to other fiancs?

Do you like them?

It amuses me. It amuses me.

It amuses me.

She's right, it's amusing.

Are you coming with us?

Put the table here.

Put lights. Put a seat here with chairs.

And... a beautiful chair.

Did you learn your text?

Put it there.

Put it there.

Find some place.

I have something to tell you.

I'm in a hurry.

How is Arthur doing?

He's fine but I have caught cold.

Blow your nose.

Do you like Beethov'?

Yes. Yes.

Tomorrow.

My dear you have to lose weight.

Sometimes I find Arthur funnier.

To each age his pleasures.

Amen.

I'm relying on you for my charity.

That's enough!

Will you shut up?

How are the fiancs doing?

They are sappy.

Sappy!

The 6...

and the 2.

The 62.

- 62?

- Yes Miss, 62.

- It's me.

- Thank you Miss.

Look at that teddy bear.

A beautiful teddy bear.

Thank you in the name of the orphans.

Thank you.

Hello Mister President.

We'll proceed to a new draw.

The 5...

and the 6.

The 56.

Mister President.

Madam President?

My wife.

I introduce you to my son, a mathematician.

Nice to meet you Mister President.

His fiance.

Mister. Madam.

Madam President.

Let me introduce you to my nephew, Ronald.

Ronald!

Madam.

He decored this room.

Congratulations.

Yes yes yes.

Your orphans are very lucky.

Congratulations.

You are their providence.

Did you invite them?

They wouldn't be at ease.

One of our poor.

Don't worry, I'll get them.

No doubt.

I'll get them too.

Mister President,

Ladies,

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Claude Chabrol

Claude Henri Jean Chabrol (French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker. Chabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943). Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time. Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century career. In 1978, he cast Isabelle Huppert as the lead in Violette Nozière. On the strength of that effort, the pair went on to others including the successful Madame Bovary (1991) and La Cérémonie (1996). Film critic John Russell Taylor has stated that "there are few directors whose films are more difficult to explain or evoke on paper, if only because so much of the overall effect turns on Chabrol's sheer hedonistic relish for the medium...Some of his films become almost private jokes, made to amuse himself." James Monaco has called Chabrol "the craftsman par excellence of the New Wave, and his variations upon a theme give us an understanding of the explicitness and precision of the language of the film that we don't get from the more varied experiments in genre of Truffaut or Godard." more…

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Submitted on August 05, 2018

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