462 The Last Metro

[Ted Todorov]

There's an acceptable R2 release of The Green Room under the title The Vanishing Fiancée.

The Vanishing Fiancée

By "acceptable" do you mean it is OAR? Or is it Pan & Scan (like the Spanish Gorgeous Kid DVD)?

[kaujot]

[ URL="http://url"] Text [ /URL ]

[LQ]

Someone suggested in another thread concerning a similar problem that the forum software doesn't mesh well with URLs containing accents.

[kaujot]

I just tested it, and you're right, it doesn't work with accents.

However, if you take the accent out and replace it with the regular letter, it'll still get you to the proper item.

[Ted Todorov]

[ URL="http://url"] Text [ /URL ]

The auto URL button above the post window neither adds nor suggests the double quotes and no other forum requires them, thus my confusion. Maybe the button can be fixed.

To return to the topic, Truffaut really rewards his regular viewers with inside humor, reuse of actors for roles that play off each other, etc. Besides Deneuve from Mississippi Mermaid, Sabine Haudepin is returning from Jules and Jim

[kinjitsu]

Check your messages Ted!

The auto URL button above the post window neither adds nor suggests the double quotes and no other forum requires them, thus my confusion. Maybe the button can be fixed.

Just remove the é and add = before http like so:

Code: Select all

[url=http://www.amazon.com/Vanishing-Fiancee-Chambre-NON-USA-FORMAT/dp/B0013K4H9Q]The Vanishing Fiancée[/url]

It's better to contain a text link within the url tags since we lose countless 'open' links every time the forum software is updated, plus it looks nicer.

Back to topic, please.

[kaujot]

The auto URL button above the post window neither adds nor suggests the double quotes and no other forum requires them, thus my confusion. Maybe the button can be fixed.

I actually put the quotes in there by mistake. None are required. It was the accented 'e' that was messing everything up.

[bobmail]

I watched The Last Metro last night and the theatrical trailer today. In the trailer, there is a scene in which Marion (Catherine Deneuve) tells her husband Lucas (Heinz Bennent) "I am your prisoner" (see http://www.videodetective.com/movies/th ... _od8I7IWgs" onclick="window.open(this.href);return false;).

I don't remember seeing this scene in the movie. I rescanned the film and the DVD chapter where Marion is wearing the same sweater (the end of #24, where Lucas tells Marion his idea for a new play) doesn't include this line. Anyone know the story behind this? Or did I miss something? (It was very late at night when I watched it and the DVD also skipped over some damaged areas.)

Thanks!

[rrenault]

It's en vogue to pick on Truffaut today for his lack of "modernity," but in 1962 it was Truffaut, even moreso than Godard, being heralded as the modern flag bearer of cinema for 400 Blows, Shoot the Pianist, and Jules et Jim. And then in the middle of the worship, he stopped. Godard needed to be a great artist; Rivette needed to be a great critic; Chabrol needed to be a great Hitchcock; Resnais needed to be a great philosopher. But Truffaut was the lone proletariat in the bunch and he never wanted more than that.

Fast forward to 1970: Truffaut is filming beneath the radar a dark and star-less Doinel drama; Godard is playing footsies with Jane Fonda, Yves Montand, and the Rolling Stones. Godard = middle class

And Truffaut needed to be the man who overturned the 'tradition of quality' and be recognized for it by the public. I have a hard time believing Truffaut was significantly more humble than any of those other guys. He was a womanizer for crying out loud. Depardieu wanted to be with Fanny Ardant

Watching The Woman Next Door I can't overlook how sorry I feel for Depardieu realizing he must have been getting cock blocked by Truffaut off screen despite the illusion of a passionate affair between himself and Ardant being presented to us on screen. Yes, I'm half-joking but still.

[criterion10]

and especially when Truffaut's heartfelt love of filmmaking shines through so clearly. Is it sentimental? Romanticized? Sure. That's the point. It's a love-letter to movie-making, not an existential meditation on the idea.

Sorry to bring the conversation in The Last Metro thread back to Day for Night, but having just watched the film for the first time, I think that the bolded claim here actually sums up my main issue with the film -- that I was expecting a more reflective commentary on the nature of filmmaking, as opposed to a film that mainly focuses on depicting the process of filmmaking. This isn't to say that Truffaut's film doesn't offer any deeper introspection; at the heart of the film is the idea that filmmaking is as, if not more, important to those engaging in the process as life itself. Though this feels secondary to Truffaut getting more swept up in demonstrating the craft behind the process and the drama of the crew members. All that's really offered for developing the main theme are some one-off lines here and there, like Truffaut's narration or the questions that Jean-Pierre Léaud's character asks others as his romantic relationship dwindles. ("I'm sure Ferrand is wrong. Life is more important than films.")

I still think it's a very strong film, definitely the sort of film that every film lover is bound to at least get something out of, and Truffaut's passion for the medium itself really does exemplify itself on full display. But, there's a part of me that was longing for Godard's more philosophical ruminations out of something like Contempt.

[teddyleevin]

Has this title ever had an update to its packaging? I've been avoiding it this whole time because it has that small, slanted slipcover design that they eventually abandoned and provided replacement cases for. Even today, it still appears the way it did on release day, and I'm not sure any of the other titles with that design still do.