SYNOPSICS
La maman et la putain (1973) is a French movie. Jean Eustache has directed this movie. Jean-Pierre Léaud,Bernadette Lafont,Françoise Lebrun,Isabelle Weingarten are the starring of this movie. It was released in 1973. La maman et la putain (1973) is considered one of the best Drama,Romance movie in India and around the world.
In Paris, Alexandre, an unemployed young man with memories of the May 1968 events in France, attempts to persuade his former love, Gilberte, to marry him. Gilberte opts to instead marry another man. Alexandre is involved with a live-in girlfriend called Marie, and is interested in films such as The Working Class Goes to Heaven. One day, after an unsuccessful reconciliation with Gilberte at the highly popular Les Deux Magots café, he meets Veronika, a Polish French twenty-something nurse. In the midst of the sexual revolution, Veronika is highly promiscuous, and begins to make advances on Alexandre. During the summer of 1972, Alexandre and Marie are nude in bed in their apartment when Veronika visits. Marie lets her in and Veronika insults both of them, but acknowledges she is not pure herself. The three begin a ménage à trois and sleep in the same bed, with Veronika assuring Alexandre she and Marie both love him, and telling him to be more happy with his situation and life. Although ...
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La maman et la putain (1973) Reviews
The beginning of a new French film
I put off reviewing it for quite a while; I just couldn't come to terms with its rejection of the New Wave. Eustache has given us the talkiest movie ever, if you except those marathon Rivette films from the same period (I survived a showing of Out One: Spectre). The camera doesn't move: it is parked in front of the actors in cafes and restaurants. The close camera placement forces us to concentrate on the conversations, which are monologues by Alexandre interspersed with explosions from Veronika. The romantic word-spinning from Alexandre is of this ilk: "The day I stop suffering, I'll have become someone else," or "In May 1968 a whole cafe was crying. It was beautiful. A tear gas bomb had exploded... a crack in reality had opened up," or most poetically, "I don't do anything, I let time do it." The retorts from Veronika are sometimes astonishing in their savagery: "Watch out, you'll push in my Tampax."; "I've screwed the maximum of Jews and Arabs."; (serving tea)"I like the feel of a prick against my ass, even if it's soft. One sugar or two?" It's as if a Proust character somehow left his drawing room to go slumming with a woman out of L-F Celine's Death on the Installment Plan. This film ought to be seen by anyone interested in French film of that period--the 70's--but be aware of the static, slow-moving nature of the work.
"In Paris, lovers have their own strange ways."
In what could have been seen as a coup towards the sexual "revolution" (purposefully I use quotations for that word), Jean Eustache wrote and directed The Mother and the Whore as a poetic, damning critique of those who can't seem to get enough love. If there is a message to this film- and I'd hope that the message would come only after the fact of what else this Ben-Hur length feature has to offer- it's that in order to love, honestly, there has to be some level of happiness, of real truth. Is it possible to have two lovers? Some can try, but what is the outcome if no one can really have what they really want, or feel they can even express to say what they want? What is the truth in the relationships that Alexandre (Jean-Pierre Leaud) has with the women around him? He's a twenty-something pseudo-intellectual, not with any seeming job and he lives off of a woman, Marie (Bernadette Lafont) slightly older than him and is usually, if not always, his lover, his last possible love-of-his-life left him, and then right away he picks up a woman he sees on the street, Veronika (Françoise Lebrun), who perhaps reminds him of her. Soon what unfolds is the most subtly torrid love triangle ever put on film, where the psychological strings are pulled with the cruelest words and the slightest of gestures. At first we think it might be all about what will happen to Alexandre, but we're mistaken. The women are so essential to this question of love and sex that they have to be around, talking on and on, for something to sink in. We're told that part of the sexual revolution, in theory if not entirely in practice (perhaps it was, I can't say having not been alive in the period to see it first-hand), was that freedom led to a lack of inhibitions. But Eustache's point, if not entirely message, is that it's practically impossible to have it both ways: you can't have people love you and expect to get the satisfaction of ultimate companionship that arrives with "f***ing", as the characters refer over and over again. The Mother and the Whore's strengths as far as having the theme is expressing this dread beneath the promiscuity, the lack of monogamy, while also stimulating the intellect in the talkiest talk you've ever seen in a movie. At the same time we see a character like Alexandre, who probably loves to hear himself talk whether it's about some movie he saw or something bad from his past, Eustache makes it so that the film itself isn't pretentious- though it could appear to be- but that it's about pretentiousness, what lies beneath those who are covering up for their internal flaws, what they need to use when they're ultimately alone in the morning. If you thought films like Before Sunrise/Sunset were talky relationship flicks, you haven't met this. But as Eustache revels in the dialogs these characters have, sometimes trivial, or 'deep', or sexual, or frank, or occasionally extremely (or in a subdued manner) emotional, it's never, ever uninteresting or boring. On the contrary, for those who can't get enough of a *good* talky film, it's exceptional. While his style doesn't call out to the audaciousness that came with his forerunners in the nouvelle vague a dozen years beforehand, Eustache's new-wave touch is with the characters, and then reverberating on them. This is realism with a spike of attitude, with things at time scathing and sarcastic, crude and without shame in expression. All three of the actors are so glued to their characters that we can't ever perceive them as 'faking' an emotion or going at all into melodrama. It's almost TOO good in naturalistic/realism terms, but for Eustache's material there is no other way around it. Luckily Leaud delivers the crowning chip of his career of the period, and both ladies, particularly Labrun as the "whore" Veronika (a claim she staggeringly refutes in the film's climax of sorts in one unbroken shot). And, as another touch, every so often, the director will dip into a quiet moment of thought, of a character sitting by themselves, listening to a record, and in contemplation or quiet agony. This is probably the biggest influence on Jim Jarmusch, who dedicated his film Broken Flowers to Eustache and has one scene in particular that is lifted completely (and lovingly) in approach from the late Parisian. Sad to say, before I saw Broken Flowers, I never heard of Eustache or this film, and procuring it has become quite a challenge (not available on US DVD, and on VHS so rare it took many months of tracking at various libraries). Not a minute of that time was wasted; the Mother and the Whore is truly beautiful work, one of the best of French relationship dramas, maybe even just one of the most staggeringly lucid I've seen from the country in general. It's complex, it's sweet, it's cold, it's absorbing, and it's very long, perhaps too long. It's also satisfying on the kind of level that I'd compare to Scenes from a Marriage; true revelations about the human condition continue to arise 35 years after each film's release.
one of the greatest films ever made
It is not an easy film to watch - it is over three and a half hours long and it is composed entirely of conversations. Yet it is so incredibly compelling and ruthlessly observational of the human character, that it is, in my humble opinion, one of the very greatest films of all time. The film is depressing, cynical and cruel. (If you want something uplifting, see Jacques Rivette's fantastic Céline and Julie Go Boating, which was made around the same time). It shows the idealism of the late 1960s to be nothing different from the society that it was trying to change. It involves a supposedly liberated ménage-à-trois between Alexandre (played by Jean-Pierre Leaud), Marie (Bernadette Lafont) and Veronika (Francoise Lebrun). Yet Alexandre is shown to be as chauvinistic and jealous as any other man. The women are exposed as being willingly subservient and defining their femininity through the male gaze. The film is an extremely icy end to the highly revolutionary French New Wave. This movement was one of the most significant movements in film history and had a profound effect on cinema as we know it. Jean-Pierre Leaud was one of the key actors of the New Wave, having starred (among other films) in the influential Les Quatres Cent Coups (1959) by Francois Truffaut as a rebellious teenager. Director Jean Eustache is not as well known as other directors from the New Wave, but he should be. There is no improvisation (unlike in John Cassavetes's similar films made in the US) and the dialogue comes from real-life conversations. The film is resonant with Eustache's personal experiences. For example, Francoise Lebrun was a former lover of Eustache. Eustache himself committed suicide in 1981 and the real-life person that the character Marie was based on, did too. The anger and bitterness all culminate in a harrowing monologue by Veronika delivered directly to the audience, breaking down the coldly objective nature of the rest of the film. This mesmerising, personal, and honest filmic statement remains one of the most revealing films of human nature around.
One of the last classics of the French New Wave
One of the last classics of the French New Wave. For direction, cineaste Jean Eustache drew from the simplicity of early-century cinema; for story, Eustache drew on the torments of his own complicated love life. So many things can be said of this film - observationally brilliant; self indulgently overlong; occasionally hilarious; emotionally draining...etc. etc. In my mind, whatever complaints that can be leveled against this film are easily overshadowed by its numerous strengths. Every film student, writer, or simply anyone willing to handle a 3 hour film with no abrupt cuts, no music video overstyling, no soap opera-like plot twists, and no banal dialogue should make it a point to see this movie. Everything is to be admired: the writing (concise, clever, surprisingly funny), acting (everyone, quite simply, is perfect in their respective roles), and, simple direction (the viewer feels like a casual observer within the film) make this film unforgettable. This is undoubtedly a film that stays with you.
One of the most moving films of the "past" century
La Maman et la Putain has to be watched as a movie that is both related to the time it was released (post-68) and eternal in many respects. True, the actors don't "act" ... True, they talk a lot... But what they talk about is just what makes life worth living... or dying. The very long monologue spoken by Françoise Lebrun is perhaps the most accurate and moving text that was ever written about womanhood, manhood and love. Not easy to translate accurately, though. This movie is a statement about the difficulty of being a man and a woman (or two women in this case). And IMHO, Jean Pierre Léaud is one of the greatest French actors.