You Ain't Seen Nothin' Yet Page #2

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


and his companion Eurydice.

Thanks to Antoine d'Anthac,

we shall hear their story

again tonight.

ACT ONE:

- Son?

- Father?

Do you expect your old father

to beg in a station buffet?

I'm playing for myself.

A station buffet with just one customer

pretending not to listen.

How time passes...

Back in my heyday,

who'd have thought

I'd pluck my harp in cafs?

Who'd have thought I'd be reduced

to begging with a tiny saucer?

Mother.

Every time

you were fired from a job.

- You're carrying on?

- Does it bother you?

I can't concentrate.

Eight times seven.

Fifty-six.

- Are you sure?

- Yes.

Funny.

I hoped it would be sixty-three.

After all,

eight times nine is seventy-two.

We're nearly broke.

I know.

That's all you can say?

Yes, father.

Good, I'm used to it.

Eight times seven?

Fifty-six.

Fifty-six.

You shouldn't have told me again!

We ate well tonight for 12.75 francs.

No, father.

If you'd chosen right,

instead of vegetables,

you'd have had a second dessert.

You see, son...

We ate better this evening

for 12.75 francs

than yesterday for 13.5 francs.

True. They had cloth napkins...

True, they had cloth napkins,

not paper ones.

That place was trying...

That place was trying to look posh

but was no better.

Once, son...

You know, son,

once I was invited to Poccardi's,

near the Opera.

They brought me the platter...

You've told me

ten times already, father.

All right, I won't insist!

That's a sad tune you're playing.

My thoughts are sad too.

Thoughts about what?

You.

Fancy! What now?

Since mother died...

Since mother died, I follow you

to cafs with my violin.

I see you struggling

to do your accounts.

I listen to your talk

of fixed price menus,

then I go to bed

and get up the next day.

At my age,

you'll see that's what life is.

I dream about what might part us.

But we get along so well.

By George, you make me laugh!

At your age, I found life magnificent.

I'm going out to the platform.

Our train's in an hour.

Excuse me...

Was someone playing the violin here?

Excuse me...

Was someone playing the violin here?

Excuse me...

Was someone playing the violin here?

Yes, Mademoiselle.

That was my son. My son Orpheus.

He played so prettily.

Yes, Mademoiselle.

That was my son. My son Orpheus.

He played so prettily.

He played so prettily.

Eurydice!

There you are!

It's so hot!

I hate waiting in stations.

Yet another badly organized tour!

The manager should make sure

the leads never have to wait.

There's only one train, mother.

It's not the manager's fault.

You always stand up for fools!

Should we have something to drink?

Now you're sitting down, you should.

A coffee.

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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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