You Ain't Seen Nothin' Yet Page #4

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


very unhappy?

I don't think so.

I'm not afraid of being unhappy

as I am now.

That hurts...

but it's a good thing.

What I'm afraid of

is being unhappy and alone

after you leave me.

I'll never leave you.

Do you swear?

Yes.

On my life?

Yes.

I like it when you smile.

Don't you ever smile?

Never when I'm happy.

Weren't you unhappy?

You don't understand a thing.

What a business!

The two of us are in a fine mess.

Standing here

with all that's going to happen to us

already waiting at our backs.

Are a lot of things

going to happen to us?

Everything. Each thing that happens

to a man and a woman on this earth,

one by one.

Things that are amusing, sweet

or terrible.

Shameful things,

dirty things too...

We're going to be very unhappy.

How wonderful!

You see, my dear,

on this earth where everything

crushes or hurts us.

It's wonderful to think

that we still have love.

My big pussycat...

We're often misled in love,

often hurt.

Often unhappy, Lucienne,

but we love.

And, from the edge of the grave,

we turn to look back and say,

"I've suffered. I've been wrong at times

but I've loved.

I lived this life,

not some being

born of my pride and boredom!"

Bravo, my big pussycat, bravo!

- Was that Musset?

- Yes, my pussycat.

Make them shut up, for pity's sake.

Make them shut up.

For pity's sake, make them shut up!

Monsieur, Madame,

you may not understand.

This will seem very strange.

I'm afraid you must leave.

Leave?

Yes, Monsieur.

- You're closing?

- Yes, Monsieur. For you.

Really, Monsieur...

He doesn't work here.

He had the violin.

You must vanish immediately!

Something very serious

is happening here.

The boy's mad!

Confound it, Monsieur, that's absurd.

This caf is open to all.

Not anymore.

This is too much!

Waiter, excuse me!

Don't call. Go.

I'll pay for your drinks.

Come, he's not in his right mind.

I shall complain to the stationmaster!

They were so ugly, weren't they?

So ugly, so stupid!

Forget about them.

When I was playing.

You walked by and I didn't know you.

Now, everything has changed.

I know you.

They were so ugly, so stupid!

Forget about them.

When I was playing,

you walked by and I didn't know you.

Now, everything has changed.

I know you.

Swear you'll never leave me.

I swear.

Yes, but that's an easy vow to make!

I hope you don't intend to leave me.

If you want me to be happy.

Swear you'll never want to leave me.

Even later. Even for a minute.

Even if the world's prettiest girl

looks at you,

I swear that too.

How false you are!

You'll stay even if the world's

prettiest girl looks at you?

But to know she's looking,

you must look at her too.

My God, I'm so unhappy!

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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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