Wise Guys Page #3

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
178 Views


Gentlemen.

I thought it might be agreeable

to watch a dancing and singing show

while you are drinking your tea

for the orphans.

Let me introduce you to Xavire Monsablon.

Who will kindly perform for us.

My glasses.

Thank you.

Jules!

Shut up.

I'm so gauche.

In a totally different style,

here is the one you didn't forget,

the one that made you dream in 19...

something at the Folies Parisiennes:

here is Primprenelle... de Folini!

Hello Ladies and Gentlemen, it's me.

- Look.

- What?

I hope I haven't changed too much.

What does that mean?

It's awful.

Yes.

She's so old.

Oldness is waiting for us all.

Why did you do that?

To be honest.

Beauty scandalize them.

Oldness scandalize them.

Everything scandalize them.

You have to go throughout things,

because what doesn't worry is dishonest.

Mister President,

Ladies, Gentlemen.

Our show is now over.

You've understood, I hope, its meaning.

Otherwise, listen carefully.

Your charity is only countenance.

Your work a bunch of selfishness.

You think your appeasing

your conscience with petit-four

but you're animated by vanity.

You don't care about orphans at all.

Me neither.

They were just a way to

receive your legion of merit.

So you're taking the chair,

you're happy,

you're earning a living with your work.

But you are all practical jokers,

out of fashion, ghosts, puppets, corpses!

Corpses.

I could abandon you to your follies,

your indigestions, your sins.

But I prefer to condemn you Inquisitors

to Hell and this smoke!

Here is the radio from the charity

in the 16th arrondissement...

Thank you for this beautiful day.

Don't thank me, you were indispensable.

I didn't help much.

You were indispensable.

Come on.

No, I'll take her off for the evening

if you don't mind.

Why?

No indiscretion please.

You don't mind, do you?

Ok, goodbye.

Hurry up, it's not that late.

What did you do?

Did you have fun?

Not so good.

Ronald is gentle, isn't he?

Hmmm...

I'm embarrassed.

I saw my uncle and

I have to leave for 2 days.

What for?

Some boring stuff.

A history of countryside property.

I have to go to sign the papers.

I'll leave you the house for 2 days.

Are you happy?

Adorable.

This way.

We must have boring lives

to create such things.

I find this ambiance very Roman.

F*** your Roman ambiance.

When are the Agathes?

What?

When do we eat?

When you want to.

One second, I have something to say.

All of you listen!

Silence!

Since we are profiting of the involuntary

hospitality of little Arthur's uncle,

since we are drinking his bottles,

since Ambroisine didn't wait that

her lover leaves to organize a party,

since we are, you and me,

involved in a crime up to the neck,

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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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