Amazon.com

The long shadow of Malle's autobiographical memoir of occupied France continues to fall heavily across subsequent representations of World War II, boarding school, and male adolescence--in fact, it would be difficult to identify a recent film that addresses these concerns and does not, in some substantial way, echo Au Revoir Les Enfants. The straightforward, unsentimental, gutsy Enfants finds its 12-year-old protagonist, Julien Quentin, sheltered from the conflict in a Catholic school. His classmate Jean, a new arrival, becomes first a competitor, then a beloved friend. Jean, however, hides a secret from his classmates and the Gestapo; evenly, subtly, Malle creates an atmosphere of hovering and inescapable danger. It won't take you more than a few frames to guess Jean's "secret," and many of the plot points here are too telescoped. Nevertheless, the plainspoken courage with which Malle tells his story remains wholly engrossing. The cinematography here is masterful and drunk with childlike wonder, alternating claustrophobic, wood-paneled church interiors with vivid, occasionally frightening outdoor vistas. And never is it more affecting than in the chilling scene where Justin gets lost in the woods during a seemingly innocent game of capture-the-treasure; trees and rocks flash by the running boy with an austere, impersonal beauty. Winner of seven Cesars (the French Oscars) in 1987, including Best Picture. It's in French, with subtitles; but don't let that scare you away. --Miles Bethany ... Read more

Reviews (19)

Beautiful!!!
"Au Revoir Les Enfants" is a great movie!! I'm only 13 and I love foreign films; and this is a great one. Louis Malle directs it and does a marvelous job. This movie is all in French with English subtitles but still pulls it off. It is about a catholic school in France during WW2. When a new boy comes to school, Jean Bonnet, all of his schoolmates pick on him and push him around. But Julien Quinten befriends him. Partly for the father who told him to be nice to him, partly for himself, and partly to find out the secret behind Bonnet's hidden name that he found in Jean's book. At the end, you pretty much know that he's a Jew and the movie ends in a sad and very powerful way. You'll enjoy this...a lot!!!

Brutal betrayal but ultimately love
"Au revoir les enfants" is an autobiographical account of the late director Louis Malle's childhood experience in occupied France. The story takes place at a boarding school for young boys. Julien Quentin, the protagonist, is a feisty, tough but vulnerable 12-year old boy. The arrival of a classmate named Jean Bonnet turns his world upside down. The other kids scorn and taunt him throughout the film but Julien becomes his friend, partly because of his curiosity of Jean's mystique and stoic nature. You will quickly guess what Jean is hiding, and the betrayal of the innocent makes this film haunting and brutal. A beautifully filmed story, sometimes the characters are a little "too beautiful" and perfect, if you know what I mean. Why does Jean have to be a beautiful child with mathematical and musical gifts? We'd love him just as much no matter how he looked. See it, feel it, and remember it.

One of the ten best films of this decade!
Malle made a superb picture in this autobiografical tale about the horror around the insights of a religious school in which a jew child is hidden with a false name .
But the time has its own velvet steps and the tragedy will come.
The bitter atmosphere you breathe under the nazi regime in the France of the forties is depicted with superb realism supported by a richness narrative and fine dialogues.
Don't miss this supreme achievement of one of the most gifted french film maker in any time: Louis Malle!
I really expect the DVD release !

powerful in its simplicity; my all-time favorite movie
poignant
funny
sad (but not depressing)
powerful
beautiful

this is my all-time favorite movie .. enough said!

Extraordinarily good
I have been viewing French movies, partly to explore new areas, and partly to study French. This is one of the best I have run across so far, seen through the eyes of an adolescent. The presentation preserves a childlike sense of awe, while dealing with complex political and moral subjects arising in occupied France. I was also delighted to find that there is a paperback put out by the French publisher "Folio," which basically tracks the French dialogue verbatim. This is useful, since the subtitles necessarily provide only rough translations, and the sometimes slangy French does not always even appear in standard dictionaries. ... Read more

Amazon.com essential video

A semi-scandal upon its release in 1978, this Louis Malle film is set inaturn-of-the-century, New Orleans bordello and focuses on a girl namedViolet (then-child actress Brooke Shields) whose imminent twelfth birthdaysignals her "readiness" to become a career prostitute. Typical of Malle, theoutwardly forbidden nature of the story and relationships within are morallyobscured by the immediate experiences and unqualified urges of thecharacters. The little heroine brings a distinctly youthful and innocent viewto the milieu, and the introduction of a photographer (Keith Carradine)--whoeventually marries Violet--in the brothel carries the suggestion that there is art and beauty to be explored there. Susan Sarandon is beguiling asViolet's mother, who seems to unfold in the cameraman's presence. The filmmoves a little stiffly, a little slowly, possibly from a heavy emphasis onperiod art direction and Sven Nykvist's moody if gorgeous photography. --Tom Keogh ... Read more

Reviews (34)

An alright movie, but not great
I had always heard that "Pretty Baby" was a good movie, but after I saw it I didn't really know what to think about it. In a way it's a good movie, but in other ways it isn't. It's about Violet (Brooke Shields) and how she grew up around prostitutes and became a prostitute at the age of 12. She ends up marrying a much older photographer (Keith Carradine).

The reasons that it can be considered a good movie is that it effectively tells the taboo story of the prostitutes, and it seems like it's realistic. However, none of the actors or actresses did that great of a job acting, at least not in my opinion. Keith Carradine seems lifeless, and it just seems that the director pretty much just jumbled up the story and threw it all in without thinking much about it at times. A lot of people won't like "Pretty Baby" because it's real controversial because of its subject and especially because of Brooke Shields shown nude at only age 12. However, if you look past the nudity and the controversy, you'll find out that it's not a terrible movie. A lot of people seem to really like the movie, so you might want to give it a try.

Absolutely UNBELIEVABLE!!!
I was very happy when PRETTY BABY became available on DVD. Soon as I found that out, I quickly ordered it from amazon.com and it arrived in only a few days.I wish to comment on the following:QUALITY OF FILM TRANSFER TO DVD: Outstanding! Picture was very clear and sharp. Colors were lively and brilliant! No noticeable defects in even the least slightest degree.MUSICAL SCORE: Soundtrack was very beautifull and moving. It represented the time period very well. It definitely contributed to the athmosphere of the time period.SET DESIGN and WARDROBE: This movie reminded me of the motion picture TITANIC, in regards to the representation and superb accuracy of the time period depicted. Just like the musical score, the set design and costumes were very true to the finest detail.ACTING: All performers, to include the supporting cast, did a remarkable job of acting. My favorite actress was Violet played by Brook Shields. She had this thick sassy southern accent and was remarkable for such a young age. The photographer who later married her was also very convincing. STORY: And now for the meat and main part of my review....I also own the movies LOLITA (Both versions), and BEAU PERE---which I received from amazon.com in a timely manner. These movies were HIGHLY CONTROVERSIAL. They were a subject of much social/moral criticism! During all of this extreme negative press concerning these young girl movies, I never heard anything mentioned about PRETTY BABY...So I guess PRETTY BABY just sneaked right in and surprised me........AND BOY DID IT DO THAT!!!!!I knew the movie would be about a pre-teen prostitute...But I never would expect what the censors let the movie get away with!!!!!(a) 11 year old Brook Shields posing nude, a full body shot of her laying on a couch, from head to toes!(b) Several scenes of her walking around the house fully nude.(c) Many close-up shots of her bare chest.(d) Highly XXX dialogue, such as the line where 11 year old Violet tells her customer that "I can feel the steam just coming thru my dress"(e) The absolutely unbelievable scene where Violet is teasing this 10 year old black boy about him being a virgin. She then later throws the boy to the ground and jumps on top of him. She continues to tease him while pulling down his pants. Just as she begins to engage in forced sex with him, this black maid enters the barn and scolds Violet and gives her this lecture on how wrong it is for a WHITE girl to breed with a BLACK person.I will save the other examples for you to discover and find out yourself! I do not want to ruin the surprise and SHOCK!In terms of controversey, moral standards, and censorship....this movie blows both versions of the movie LOLITA and BEAU PERE out of the water!!!I really thought the above mentioned movies were the only three mainstream movies out their that challenged the censorships with highly controversial young girl "lolita" content.....But I JUST FOUND OUT THEIR IS A "FOURTH ONE" OUT THEIR IN THE WILD CALLED "PRETTY BABY" THAT BLOWS THEM ALL OUT OF THE WATER!!!!!!For those of you that enjoy and search the world over for mainstream "lolita type" content movies....THIS IS A 100% DEFINITE MUST OWN MOVIE!!!!!! (P.S. I do not want to waste space and your time by going into detail about what the movie was about or plot specifics...you can find out that information by reading the MAIN DESCRIPTION at the beginning, or the MAIN REVIEW...also many reviewers quote and state the same story specifics over and over...Reviews are supposed to give an EVALUATION/RATING REVIEW, not tell the story over and over again in different fashions)

Beautiful Brooke
The best part about this movie is Brooke Shields. Her beauty is obvious even at that age. She had some nude scenes. This is the type of film that perhaps can no longer be made in the climate that we live in. Susan Sarandon plays the part of Brooke's mother. Keith Carradine is also along for the ride as a not-so-successful photographer. I highly recommend this film to those who can appreciate the works of David Hamilton and Jock Sturges.

The bitter loneliness behind the red light house
A brothel is the saddest place in the world. Malle however finds a dark poetry behind the red house light and gives a beautiful intimate portrait since the point of view of a little girl.
Malle always kept in the deepest of his soul the childhood memories , and this is a direct heritage from the French Mew Wave. And this statement is supported by two essential films of him *Zazie dans le metro* from 1961 and *Au revoir les enfants* (one of his four masterpieces) from 1986 who deserved him an Academy Award as best foreigner film.
This film literally made grow up to Susan Sarandon as a top actress in a demanding role. Jodie Foster made this role without too much effort , probably due her before playing in Taxi Driver.
The script is astonishing and surrounded of a bitter atmosphere.
One little gem and a cult movie from this brilliant french director.

a sad serious movie
this movie caused a scandal as it should for having a young nude brooke shields if u get beyond that its a sad look at child prostitution in the late 1800s brooke shields plays violette daughter of a prostitute living at a brothel soon violette is groomed as the new prostitute a photographer shows up simply to take pictures of her mom for a magazine violette kinda falls for him and eventually moves out of the brothel to marryhim then her mother returns with a new sickman to steal her away as it ends a sad artsy movie but most true film critics should see it beware has beatings young nudity and many disturbing themes ... Read more

Amazon.com

This stirring 1994 work by Louis Malle brought the legendary French filmmaker into another collaboration with actors-writers-directors Andre Gregory and Wallace Shawn, scribes and stars of the great My Dinner with Andre. The situation here is that Shawn and Gregory were participants in a years-long, informal project remounting a production of Chekhov's Uncle Vanya every few months for select friends and the general worthiness of the idea. Wearing street clothes and strolling to a crumbling New Amsterdam theater on Broadway, actors Shawn, Julianne Moore, George Gaynes, Brooke Smith, Larry Pine, Phoebe Brand, Lynn Cohen, and others would do a full run of the text (as sharply translated by David Mamet) while a beaming Gregory (the play's director) looked on. Malle--who died following this film--spent a few days transforming the theatrical experiment into a viable film that maintained the company's unusual purpose and spirit. The result is something between a narrative feature and a documentary about an acting workshop, and is both highly entertaining and cinematically enthralling. A terrific final note in Malle's distinguished career, this is a must-see for anyone who cared about his work or who has a passion for Chekhov. --Tom Keogh ... Read more

Reviews (10)

A complete and total surprise
I have never been a major fan of art films. I literally stumbled onto this film while channel-surfing. Although it was in the middle of the film, and I only saw a few minutes at a time until I resumed channel-surfing, I always landed back on this unusual film, which looked like a group of people going through a rehearsal. Eventually I was intrigued, and went to find out more info (like the name). After a while, I checked out the film, and saw it beginning to end.

I was amazed by what I saw. A group of performers (Wallace Shawn, Julianne Moore, George Gaynes, et al.) performing a classic Russian play in front of a small group of people, including the play's director, Andre Gregory. It looks like the group is really just rehearsing the play in their normal clothes, in an abandoned theater with minimal props. But NO! That's the actual performance they did! And by doing "Uncle Vanya" in this way, one can picture the events occuring any time, any place. I was astounded.

The biggest surprise to me was Wallace Shawn. Before I had seen him with recurring roles in "Murphy Brown" and "Star Trek: DS9," with my favorite performance as Vizzini in "The Princess Bride." Wallace Shawn as Vanya totally surprised me, and completely changed my perception of him as an actor.

I honestly believe that this film started me on a different path as to what films I watch now. I cannot recommend it enough.

A tremendous feat of cinematic and theatrical imagination.
Director Louis Malle, a decade or so after My Dinner with Andre, teamed once again with Andre Gregory and Wallace Shawn to create Vanya on 42nd Street, and the second film is even more brilliant than the first. To help actors keep up their acting chops between jobs, Gregory staged recurring performances of Chekhov's Uncle Vanya in a decrepit, abandoned Broadway theater (since renovated by Disney to accommodate The Lion King) and inviting selected guests to witness the proceedings. As filmed by Malle, this performance comes as close to smashing the barriers between film and theater as any films ever made (even Olivier's films of Henry V and Hamlet didn't succeed quite as well). Although the performances of Wallace Shawn, Julianne Moore and other New York actors are uniformly impressive, the standout is Brooke Smith, an actress of whom I know little (save for a guest shot on "Law and Order"). This movie shows us what a genius we lost when Louis Malle died, much too young.

Good, not great movie
A well-conceived film with an overall enjoyable cast. The best performance belongs to Brooke Smith (kidnappee in Silence of the Lambs) who perfectly portrays the heartbreaking experience of a "plain" woman with a love unrequited. Wallace Shawn is also commendable, and the character roles of Nanny and Waffles are played superbly.
However, I give this movie 4 rather than 5 stars chiefly because I was not thrilled with the performances of Julianne Moore and Larry Pine. Moore doesn't quite exude/possess enough charm and attraction to match that of her character who supposedly turns the existence of those around her upside down. And her repeated laughs seemed unnatural. Pine's Dr. Astrov likewise failed to invoke the reverence that the female characters attribute to him. He was a bit too "Bogart" and dated.
The film does have enough to stand up to repeated viewings.

See this Vanya
This film removes the old stigma surrounding Chekhov and allows audiences of all ages and backgrounds to access the brilliance, pain, laughter, and humanity of his work. It may even motivate some viewers to seek out more of his writings. The direction by Louis Maller, the translation by David Mamet and all of the performances are the most gripping, realistic, entrancing I've ever seen of "Uncle Vanya". It shows what can be achieved with no set, no costumes, just great actors, with a great script, doing what they do best.
SEE THIS FILM!

Mamet and Malle make a winner!
I remembered loving this "small" film when I saw it in the theater, so I knew I'd be happy with the DVD, whether it had any extras or not (it doesn't). Although Julianne Moore has made it big since making Uncle Vanya ("Boogie Nights," "Nine Months," "The End of the Affair"), and her lovely face dominates the DVD cover, "Uncle Vanya on 42nd Street" is truly ensemble acting at its best. Wallace Shawn as the title character does a powerful job of holding the viewer's interest, even though his Vanya is riddled with smugness, envy, self-pity, and lethargy. There are things about his performance that make you wonder if Louis Malle wasn't thinking of "Uncle Vanya" as a sequel to "My Dinner with Andre" (especially since Andre Gregory plays the director who has gathered his troupe of actors to rehearse Uncle Vanya in the falling down New Amsterdam Theater in New York City). In both movies, Shawn plays a man facing a mid-life crises, plagued with self-doubt and floundering around, looking for reasons to go on.

What struck me on my recent viewing of the film was how timeless Checkhov's story really is. Like Jane Austen, he has a great ability to find the universal in the pettiness of highly-controlled domestic life. In comparing Mamet's rendering with Paul Schmidt's excellent recent translation, it seems Mamet did a good job of crafting speakable lines. He modernized the play without wrenching it from its original time or setting. Since the performance we see is a final run-through, not a dress rehearsal, we receive no visual clues as to when the play within the movie actually begins. Malle's light hand in this regard only reinforces the dubiousness of the distinction between theater/art and reality (a much discussed subject in "My Dinner with Andre").

The decision to film "Uncle Vanya" in the decaying New Amsterdam Theater was an inspired one. When Dr. Astrov (Larry Pine), the play's most forward-looking character, bemoans the cultural and spiritual devastation caused by deforestation and human indifference to the environment, one can't help but think of the plight of 42nd Street itself. The New Amsterdam's resurrection--thanks to Disney dollars--as the current home of "The Lion King" is not without it's ironies. As all of the characters in "Uncle Vanya" are painfully aware, our futures are always purchased at a very high price. And the losses we are likely to experience as we move towards those futures may be greater than any of us will be able to bear.

"Uncle Vanya on 42nd Street" is one of those great works of art, like Eugene O'Neill's "A Long Day's Journey into Night," that makes you stop and take stock of your life. ... Read more

Reviews (37)

Who is most damaged?
"Damaged people are the worst because they know they can survive." Dangerous is a good film that examines the dark side of obsessions. Jeremy Irons portrays a british government official who becomes obsessed with his son's fiance played by Juliette Binoche. The result is a film that only partially succeeds.

I had several problems with the film one being Irons motivation to become involved with this woman in the first place. A look and phone-call and then BAM! OK... but why was he so willing to jump into the dark waters? Power? Lust? Carelessness? Boredom? And herein lies the major weakness of the film. The film deals almost exclusively with the obsesson of Iron's character with Binoche but does not deal with the obsession of the mother (Iron's wife) with her son. Her relationship is clearly destructive and unhealthy but all the damage she inflicts under the guise of her love for her son never finds a voice. No fault falls on the mother when her obsession might well explain both the son's and father's weaknesses. At one part the son is talking about his family life saying that although it was good it lacked passion. His mother then replies that it is probably her fault and he replies that he rather thinks it's his father's. It's a careless and misdirecting remark and a sadly missed plot point.

As you may expect there are many sex scenes. I don't know what I was expecting but many made me laugh. They seemed so ridiculous and absurdly physical. I rather think Binoche must have suffered some bruising as a result of Iron's flailing.

While this film is meant to portray the damage that a traditional obsession (i.e. an affair) can have, it also begs to be seen from the the alternate perspective of a mother's obsession for her son. I am disappointed that Malle didn't have the courage to pursue this theme more vigorously.

Fascinating Study of Obsession
Stellar cast and thoughtful direction make this a completely fascinating film. There are some moments where you must definitely suspend your disbelief, but even so this is a thoroughly engaging character study into sexual compulsions and obsessions.

Nice to have the two different versions available, along with a short director commentary. 'Would have been nice to have a complete commentary track with one or more of the stars.

Why isn't Leslie Caron working all the time?

Uncontrollably Obsessed MP escapes unpunished
The story is seen entirely from Fleming's viewpoint. (If there is any guilt on the fiancee's part, she doesn't show it.) Fleming is a leading Conservative MP, likely to take over a Cabinet post as minister of health in the next re-shuffle. I feel the author, Josephine Hart, decided to give him that job, in order to maximise the fall that confronted him when his errors are discovered. It was as senior an establishment role that the protagonist could have without fearing he would be recognised at every street corner. Politics don't play a large part in the story, but the film will have played some small part in the image of sleaze that the Conservative party acquired in the early 1990s.

Binoche is utterly beautiful, and totally passive during the sex scenes, but her accent (cleverly excused by scriptwriter Hare as the result of her travelling the world) is all over the place. Irons is convincing in the role, and Miranda Richardson puts in another perfect performance. Their son, the victim, is almost too good-natured to be true, but this helps to highlight the contrast with his father's uncontrollable lust.

As with 'Day of the Jackal', the motion is very occasionally jerky -- one or two frames seem to be missing from the transfer from film reel to DVD, but not enough to harm one's enjoyment.

This is not far from being a truly great film, but I think it would have needed one extra dimension -- don't ask me what -- to achieve that.

Pure Animal Lust & Sexual Attraction Abound!
Louis Malle's film with a young fiancee, Juliette Binoche & the father of her soon to be husband-an elder, mid-life crisis bound, government official in Jeremy Irons. The second they gaze upon each other, you just KNOW that there is going to be some trouble ahead. Miranda Richardson as Iron's wife, plays a pivotal role in the movie also. Very erotic & base sex scenes with a twist of an ending that you will never forget. Hence, the title - DAMAGE! Highly recommended and truly great ensemble performances by all...

Damage
Love at a first sight exists, at least in this movie.
A honourable member of English Parliament falls in love with a woman who introduces herself to him unexpectadly during one party. Soon, this woman appears in his life again, this time as his son's fiance but that doesn't mean that he can not start a
very romantic affair with her. So two people who are prisoners of the happiness of the moment change so many lives forever.

I was sick to death to watch a movie where a father of an old child has sex with his fiance but I had to keep watching it only to find out how it will end. Luckily it ended perfectly making it crystal clear that prisoners of passions and killers of harmony always get what they always asked for which is = HELL on EARTH.

I would recommend this movie to people who have to learn something new each day even though it may be very disturbing to watch something like this. ... Read more

Amazon.com

Louis Malle's fourth film as a feature director was this 1962 work starring Brigitte Bardot in a thinly veiled reflection of her own life. Bardot stars as a famous movie actress who withdraws from the world's scrutiny at the peak of her success. Marcello Mastroianni plays a theater director who steps in to protect her; he's also the former lover of her mother. Somewhat unconvincing and anchorless as a drama, the film finds Malle--at that time--searching for an artistic trajectory following his splashy first works (Frantic, The Lovers) and a lightweight if enjoyable third film (Zazie). On the plus side, it does feature Bardot at her peak and a fine performance from her costar, and the backdrops--especially in the third act--are certainly inviting. --Tom Keogh ... Read more

Reviews (4)

Spectacular!
French New Wave at it's best? Louis Malle's first film has been considered one of the first if not the first film of the French New Wave and either way is certainly one of the best. The story has Hitchcockian undertones to it; A man kills his lover's husband and then gets trapped in the elevator while fleeing the scene. The tension mounts as the man's lover, Jeanne Moreau and the audience wait to see if he will escape or get caught. Like the early films of the new wave there are many shots of and around Paris. However Malle made one of the best decisions in cinematic history by having Miles Davis do the soundtrack. Miles gives those scenes in Paris and the entire film a quality that is indescribable. For those who admire the films of Godard, Truffaut or Varda will love this unbelievable piece of cinema. However this film is not available on DVD. Cannot for the life of me imagine why. Criterion please help!!! The soundtrack on its own is amazing and for jazz fans should be purchased immediately. I looked for it forever and it has finally been released on CD.

First film by Louis Malle and a great one
With the much-heralded score by Miles Davis, this film is a superb example of both French New Wave cinema (purportedly the first, if not one of the first) and great French crime cinema. Starting with the tried and true plot of a pair of lovers who agree to do away with the woman's rich husband so they can be free of the encumbrance of marriage and simultaneously reap the financial benefits, the story takes some unexpected turns. Throw in a pair of younger lovers, an effusive German couple, a Mercedes Benz 300 SL gullwing, and a dangling rope, and you have the makings of a first-rate suspense film that was, for its time, light years ahead of a whole lot of other stuff.

The jazzy score does exactly what's needed at all the right moments. The title refers to a situation experienced by one of the lovers. Jeanne Moreau is great as the rich husband's wife, and the other cast memebers are just as good. Malle has a perfect sense of pacing as well, and a flair for infusing his black-and-white photography with just the right noir lines and shadows.

The New Wave feeling is conveyed by the occasional self-reflective voiceover, emotional aloofness linked to violence, and the up-to-that-time (in French cinema) never-before linking of individual-based scenes with expressive, non-classically based music (Davis' score).

Highly recommended for those interested in French cinema, film noir, and film in general.

Early Louis Malle Film Breaks New Waves
This film can be considered one of the earliest, and in my opinion, one of the best New Wave films. It is by far my favorite of the early Malle works. The mood is set by the soundtrack which was done by Miles Davis. The chaotic feel of the music is perfectly fitted to the pace of the film, made all the more amazing considering that Davis and company improvised the entire score while watching the movie in a studio. The story itself is a pretty straight-forward murder plot, but its quirks and twists serve to make it haunting and beautiful. The shots of Paris, the drives into the Banlieu...Malle makes the most of what little there was. Dialogue is not even an issue here; if you don't understand a word of French, it won't hurt you at all when watching... Well worthwhile.

Amazing Unknown French New Wave
No-one knows about this fantastic New Wave film, a sort of comic "Breathless" with an amazing interplay of stories going on. All Americans attempting to write comedy should see this film for a good look at humor without one-liners and what is called "physical comedy;" what is funny is the characters themselves and the way the camera watches them, in a sort of smug self-centeredness. If you can find this rare film, check it out! ... Read more

Reviews (2)

Le Souffle au Coeur.........
bravíssimo Signore Luigi!

Louis Malle directed this affectionate story of a young man's coming of age.(Coming of age filmes usually make me ill, what a welcome exception!)
When a 14-year-old boy from a bourgeois (but wild , anarchistic and delightfully mischief) home is sent to a sanitarium health reasons, he learns that "mamma knows best".

(To tell you what she knows, well..,if I reveal the "secret" of the movie that almost got it censored...)

Pappa is a gyneocologist, mamma a bedda Italiana , daughter of a political exile who married into the rich gentry in Dijon France, a world strange to her as she is for them.

Laurent ( or "Renzino", his Italian appellation of mamma's affections) is the central character,
a 15 year old, Charlie Parker (and bebop jazz in general) loving, Albert Camus reading "hipster-atheist-existentialist". he and his crazy brothers take it to the stuffy adults, and upper class French society in general ~ madcap, but not slapstick!
THis movie has some great dialogue! (Helps to know French , as the dialogue is much better than subtitles reveal.)

A comic and, at the time, quite scandalous motion picture.

With Benoit Ferreux as the our young stalwart Renzino
and Lea Massari as his sensuous mom.(imagine , Claudia Cardinale, Sofia Loren, and Vera Bloom wrapped into one!

She is unbeleivable, a real delight!)
Watch especially for the dinner "spinach tennis" match, but so many scenes worth the price of the movie alone! .

1000 stars under a French sky!

One of Louis Malle's best
Unbridled youth is very powerful in this somewhat tongue-in-cheek coming of age romp from the French master. The boys are your Menendez brothers en petit. They are arrogant, mean to the servants, sell the family jewels, paintings and carpets, drink to excess, attend whore houses with their stolen money and put up with lecherous priests in the day time. Mom has a lover and is bored with Dad, but she loves her little boy, 14-year-old Laurent, played with a "youth will be served" confidence by Benoit Ferreux, whose "coming of age" is perhaps a Louis Malle fantasy from his own youth.

There is the usual deft and warm Malle touch as he explores some verboten sexual ground and manages to have it all come out as charmingly sweet as a French musical farce. En route he parodies the post-war decadence of the French during the fifties as he satirizes Albert Camus, the war in Vietnam (pre-US involvement) and the Catholic church. One scene moves to another as though there was a fire to get to. Malle gives us what is necessary and runs into the next scene relying heavily on the camera to carry the story with minimal dialogue.

This film should be seen and contrasted with Malle's homage to a pre-adolescent Brooke Shields in his American film, Pretty Baby (1978) where the camera tends to linger. Here he celebrates the randy adolescent charm of Ferreux perhaps to excess. But then, I'm sure to some, 12-year-old Brooke Shields must have been a yawn. The amazing thing about Malle is his ability to openly address taboo subject matter and do it in a way that disarms would-be critics. His secret I think is his deep affection for his characters and his emphasis on our ability to overcome and to heal. Malle, more than almost any film maker I can think of, keeps sex in perspective and does not over react to sexual differences.

Incidentally I was intrigued to discover that Malle's first film was the ground-breaking under water documentary The Silent World (1956) made in collaboration with the legendary Jacque-Yves Cousteau. ... Read more

Amazon.com

The sheer audacity of My Dinner with Andre drew throngs of curious filmgoers who made the film the most talked-about art-house hit of 1981. After all, who'd ever heard of a movie consisting of nearly two hours of nonstop dinner conversation? Ah ... but this isn't just any conversation--it's the kind of mesmerizing, soul-searching, life-affirming exploration that we feel privileged to listen to, and with unobtrusive style, director Louis Malle invites us to eavesdrop to our hearts' and minds' content. The film was written by two New Yorkers at the dinner table, noted playwright-actor Wallace Shawn and well-known stage director Andre Gregory, who essentially play themselves. They taped their conversations for several weeks and Shawn gradually shaped them into a scripted conversation, but you'd never know it by watching the movie. The talk flows and flows until you're captivated by Gregory's stories of world travel and spiritual quests in Poland, India, Tibet, the Sahara desert... the tales of a soul-searcher who'd dropped out of the theater world to rediscover his zest for living. Shawn plays the skeptic, the voice of reason, his feet on the ground but his own mind willing to soar. The cumulative effect of this conversation is almost hypnotic, and certainly plays into our eternal appetite for storytelling. Both primal and sophisticated, witty and profound, My Dinner With Andre is a film that can be savored over time, offering new revelations with each viewing as the listener-viewer develops his or her own appreciation of life's great mysteries. --Jeff Shannon ... Read more

Reviews (63)

Don't you wish you had friends like this?
Where to begin? Two real people engaging in an ideosyncratic discussion about everything. Literally. From our modern, somnambulistic culture to artistic and personal freedom, My Dinner With Andre represents one of those conversations from the distant past which you can never quite forget. Every word and observation drips with latent meaning and insight; no fear of using audicious metaphors to make a point; a willingness to expose the soul. Those kinds of conversations may ultimately be more wind than fire, but through all the twists and turns of this conversation, and the self-absorbed pretension that sometimes overwhelms the moment, this movie has a lot to say. About life. About relationships. About death. And about whether we are alive or dead, awake or asleep, happy or unhappy, honest or fraudulent. I urge you to watch this--and then watch The Sixth Sense. Believe it or not, these movies tell a similar story about the world of zombies in which we live. Great film. (Don't listen to the comments about the quality of the conversion to DVD. It ain't great, but it doesn't need to be. This movie would eminently and desirably watchable even if it was shown on some snowy, UHF broadcast.)

You Are In For A Treat
I have seen this movie several times and have always discovered new revelations during each viewing.

Wallace Shawn and Andre Gregory are brilliant. They spend almost the entire time before the cameras in animated conversation while eating dinner in a small restaurant in New York City. The conversation is unforgettable and the reason it will not soon leave my memory is that I feel I was there at the table with them. This effect is due to the considerable skills of the director, Louis Malle.

Shawn has been a busy actor and playwright throughout his career with frequent appearances in various productions such as VANYA ON 42ND STREET, a movie with the same kind of appeal as MY DINNER WITH ANDRE. Gregory has worked primarily as a stage director.

Louis Malle is also an excellent director with many film credits including VANYA ON 42ND STREET.

Tres Bon!
"My Dinner with Andre" is my all-time favorite film. I watch this movie often, each time of which I notice another layer of meaning. In addition to the superior dialogue and direction in this film (which other reviewers here have aptly described), the movie is rich, visually. This movie is not visually boring, despite the fact the cameras are on Wallace Shawn and Andre Gregory for nearly two hours. Andre Gregory, especially, is such an engaging conversationalist that he evokes compelling mental images in the audience as to what these far away places might look like (i.e., the Sahara and the Polish forest to name a few). After all, Gregory said "I consider myself a bit of a Surrealist," meaning that the world of dream images in the mind's eye are the locus of true imagination. It's a superb use of the verbal to evoke the visual. Yes, the film is overtly naturalistic (i.e., the restaurant setting, a 2-hour meal with "real" characters), but the sheer dialogue transports one beyond mere verisimilitude.

Having the audience imagine, in their own ways, what these venues might look like is so contrary to what we get so often in American movies today. We typically get in your-face visuals and glitzy special effects (e.g., "Lord of the Rings) that allows no room for viewer imagination: its all artificially provided for you. Such films leave me, to use Gregory's words, "passive and impotent."

"My Dinner with Andre" respects its audience by reminding us what it is to be truly human. Having conversations as portrayed in this film is my ideal evening out with a good friend(s).

I can't recommend this movie enough.

A masterpiece! - The best movie of the past 25 years
I just finished this movie, and I feel like I need to simply get a few thoughts down before my head hits my pillow. I didn't know what to expect entering My Dinner With Andre - after all, it is a movie about two guys who have dinner in a restaurant and talk the whole time. But from the moment that the goofy-looking, awkward Wallace Shawn lumbers down a New York street and we hear his voice-over, I knew that something more was taking place in this movie. What it was, I had no idea.

There are no character names; there is no 'plot;' Wallace Shawn and Andre Gregory, both prominent actors/playwrights of New York, meet after not having seen each other for years and they shoot the breeze. I learned that it's not as extemporaneous as I originally had imagined - Shawn and Gregory got together, recorded hours of their conversations, and then compiled a script based on them. The 'restaurant' is actually a defunct hotel, the waiters and barkeepers all actors. But there's a transcendence to it all, as the men sit and chat (mostly the powerful, lively Andre Gregory doing the talking), food being brought out to them.

What heightens the power of the film is the setup that Wallace gives in the voice-over before their dinner: Andre, the man he meets, has been living a peculiar existence traveling all over the world, when he used to never want to leave his family. A friend of Wallace's saw Andre weeks before sobbing uncontrollably on the street because he was violently moved by a line in Bergman's Autumn Sonata. Like Wallace, we don't know what to expect in the very context of the dinner conversation.

Some of the things that Andre and Wallace discuss in this movie are so unimaginably crazy, so hauntingly horrific, that even the mental images that went through my head sent chills all the way through me. At one point, Andre tells of a strange rite with some friends on Halloween in which some of them let him through a strange process of being stripped completely naked, bathed, led through a field, lowered into a grave and buried alive for half an hour. Of course, I tell you this just to tantalize you, because to begin to even summarize what goes on in 110 perfect minutes would be impossible. Andre and Wallace discuss love, marriage, perception and reality, theology, and even the validity of their very statements. That they relate it with such grace and raw, real emotion makes me refuse to believe that this was staged in any way. It feels so natural.

I can't believe that something like this could actually make its way onto film, because it's such an amazing achievement for the art itself - in a way (especially in an early story that Andre tells about the nature of performance), seeing these men talk over dinner on film is the actual embodiment of a movie folding into itself in perpetuity. These men are real figures, play real figures in the film, recreate real conversations, and talk about reality in such a way that a heightened sense of awareness pervades the whole film. I didn't get up once, check the time - a few times I leaned closer to the screen because what was being said struck so close to me, hit home so hard, that I wanted to just be nearer to it. At one point, I gasped as Andre related the idea of New York, of working society being a new kind of concentration camp in which the prisoners make the prison, abide by the rules, and don't even realize it's holding them in. Whether I believe that or not is irrelevant - the fact that it's worked into a conversation like this is amazing.

The movie moves with grace between moments of hauntingly dark realizations, to soaring epiphanies of happiness and then back again. Much of the film may be discussion about the zombie-like nature of human existence, but there is a certain empowering quality to it all. My Dinner With Andre is not just about a conversation; it is about living; it is about life; it is about reality; it is about love; but most of all it is about the fact that we can all be happy with what we have right now, even with the infinite, scary knowledge that we receive over time. We meet a man who personnifies 'normalcy' with every gesture (Wallace), and yet there's a man who has done everything in his power to resist stasis (Andre). I left the movie with a changed perspective on each man, which I'm sure is what happened between them, too. More than a few times, I felt on the verge of tears watching this, and I felt it more than ever when Erik Satie's "Gymnopedie for Piano" began at the film's conclusion. One of the most transcendent works of music was chosen for one of the most transcendently great films I've ever seen. How cool.

I'm sorry. I'm just rambling at 2:15am, but I just thought it was impossible to not attempt to put into words what could be one of the single most important experiences I've ever had with a movie. I've seen a handful of movies that have drastically changed my thinking about a certain theme or notion. My Dinner With Andre might have just changed my life.

I want to have a conversation like this
I have not seen this DVD so my review pertains only to the movie itself.

This is one of my favorite films of all time. I can watch it over and over again and it remains enjoyable.

The entire movie consists of two old friends having a conversation over dinner. Wallace Shawn plays Wallace Shawn, a struggling playwrite who acts to pay his bills. He is a realist, but he has an unshakable faith in the power and importance of art. Andre Gregory plays Andre Gregory, a once successful director who had worked with Shawn in the past, but who has since had an apparent breakdown. Shawn has heard rumors about his old friend's erratic behavior.

Shawn is wary of the dinner. How crazy is Andre? Why does he want to meet after all of these years. He gently prods Andre with some general questions, but once he gets Andre started, there is no stopping him. He had had a breakdown - or a crisis, or an epiphany depending on how one looks at it. Andre had realized that he was not really living, but, rather, sort of existing in a semi-consious state. He looked around and saw that everyone was doing the same thing. He also lost his faith in the ability of art to communicate anything. This crisis is the result of his reaction to post-modernity in general. He proceeds to tell Wallace the extremes to which he went to try to feel like he was really experiencing life again. He traveled all over the world, experimented with all sorts of mysticism and unconventional thought, and developed a conscious, almost child-like view of the world.

I will not paraphrase the entire conversation. Wallace Shawn does get his rebuttal, and it steers the conversation in a cryptic direction. The conclusion, or lack thereof, of the argument is challenging, if not down-right depressing. This aspect of the film is rarely mentioned. Although Shawn leaves exhilarated by the conversation he has had, that conversation has left the audience in a quandry. The movie should instigate some interesting conversations of your own.

The script is just wonderfull. The two men taped many of their conversations and then edited them up and made a script out of it. Great idea that I am surprised is not used more often. The result is complete naturalism. Malle is reserved and delicate in his direction. A must for anyone who likes intelligent cinema - or simply craves a good conversation. Have that conversation vicariously through this splendid film. ... Read more

Reviews (4)

Les Amanats: Louis Malle's 1958 "erotic" masterpiece
Jeanne Moreau gives one of her best performances in Louis Malle's "The Lovers." Moreau plays Jeanne Tournier, who is equally bored with both her husband the wealthy newspaper owner (Alain Cuny) and her polo-playing lover. So she impulsively decides to run off with young Bernard Dubois-Lambert (Jean-Marc Bory), who picked her up on the highway when her car breaks down. It is pretty clear this is going to be just a fling for Jeanne, but that does not take away from its importance. The 1958 film was controversial in its day because of the last half-hour in which the lovers walk though a moonlight garden to the strains of Brahms. Of course, today it is all rather tame, but there is still an aspect of art to the way Malle presents it all. "The Lovers" still holds up as romance on its own terms. Nice to see that this film is letterboxed, which is, of course, the only way to go with any film worth watching.

remarkable film making
I have seen this film when it first came out some 40 years ago and I will never forget it. It proves that a love making act can be presented with an autmost purity and sensitivity, and without the need for pornography.I cannot wait for it to be released again.

This film has stayed in my mind for 35 years.
I saw this film along with a Yiddish stage show in a theatre on south beach in Miami many years ago. It was difficult at the time, to really enjoy the movie since it was inappropriate for that particular audience as they were laughing and giggling at the very serious and sensitive scenes due to their embarrassment.I loved the movie and think about it every time I hear strains of Brahms Double Concerto, (repeated beautifully in many love scenes)"The Lovers" is a French tale of adultery without today's nudity and language - but oh so very sexy! I would recommend this movie for anyone who is a fan of Louis Malle. His direction of Jeanne Moreau is superb. I am eagerly awaiting the re-issue of this film so that I may own it and enjoy watching it again and again.

I wish you carried this video.
Please get this video. It is excellent ... Read more

Reviews (37)

Who is most damaged?
"Damaged people are the worst because they know they can survive." Dangerous is a good film that examines the dark side of obsessions. Jeremy Irons portrays a british government official who becomes obsessed with his son's fiance played by Juliette Binoche. The result is a film that only partially succeeds.

I had several problems with the film one being Irons motivation to become involved with this woman in the first place. A look and phone-call and then BAM! OK... but why was he so willing to jump into the dark waters? Power? Lust? Carelessness? Boredom? And herein lies the major weakness of the film. The film deals almost exclusively with the obsesson of Iron's character with Binoche but does not deal with the obsession of the mother (Iron's wife) with her son. Her relationship is clearly destructive and unhealthy but all the damage she inflicts under the guise of her love for her son never finds a voice. No fault falls on the mother when her obsession might well explain both the son's and father's weaknesses. At one part the son is talking about his family life saying that although it was good it lacked passion. His mother then replies that it is probably her fault and he replies that he rather thinks it's his father's. It's a careless and misdirecting remark and a sadly missed plot point.

As you may expect there are many sex scenes. I don't know what I was expecting but many made me laugh. They seemed so ridiculous and absurdly physical. I rather think Binoche must have suffered some bruising as a result of Iron's flailing.

While this film is meant to portray the damage that a traditional obsession (i.e. an affair) can have, it also begs to be seen from the the alternate perspective of a mother's obsession for her son. I am disappointed that Malle didn't have the courage to pursue this theme more vigorously.

Fascinating Study of Obsession
Stellar cast and thoughtful direction make this a completely fascinating film. There are some moments where you must definitely suspend your disbelief, but even so this is a thoroughly engaging character study into sexual compulsions and obsessions.

Nice to have the two different versions available, along with a short director commentary. 'Would have been nice to have a complete commentary track with one or more of the stars.

Why isn't Leslie Caron working all the time?

Uncontrollably Obsessed MP escapes unpunished
The story is seen entirely from Fleming's viewpoint. (If there is any guilt on the fiancee's part, she doesn't show it.) Fleming is a leading Conservative MP, likely to take over a Cabinet post as minister of health in the next re-shuffle. I feel the author, Josephine Hart, decided to give him that job, in order to maximise the fall that confronted him when his errors are discovered. It was as senior an establishment role that the protagonist could have without fearing he would be recognised at every street corner. Politics don't play a large part in the story, but the film will have played some small part in the image of sleaze that the Conservative party acquired in the early 1990s.

Binoche is utterly beautiful, and totally passive during the sex scenes, but her accent (cleverly excused by scriptwriter Hare as the result of her travelling the world) is all over the place. Irons is convincing in the role, and Miranda Richardson puts in another perfect performance. Their son, the victim, is almost too good-natured to be true, but this helps to highlight the contrast with his father's uncontrollable lust.

As with 'Day of the Jackal', the motion is very occasionally jerky -- one or two frames seem to be missing from the transfer from film reel to DVD, but not enough to harm one's enjoyment.

This is not far from being a truly great film, but I think it would have needed one extra dimension -- don't ask me what -- to achieve that.

Pure Animal Lust & Sexual Attraction Abound!
Louis Malle's film with a young fiancee, Juliette Binoche & the father of her soon to be husband-an elder, mid-life crisis bound, government official in Jeremy Irons. The second they gaze upon each other, you just KNOW that there is going to be some trouble ahead. Miranda Richardson as Iron's wife, plays a pivotal role in the movie also. Very erotic & base sex scenes with a twist of an ending that you will never forget. Hence, the title - DAMAGE! Highly recommended and truly great ensemble performances by all...

Damage
Love at a first sight exists, at least in this movie.
A honourable member of English Parliament falls in love with a woman who introduces herself to him unexpectadly during one party. Soon, this woman appears in his life again, this time as his son's fiance but that doesn't mean that he can not start a
very romantic affair with her. So two people who are prisoners of the happiness of the moment change so many lives forever.

I was sick to death to watch a movie where a father of an old child has sex with his fiance but I had to keep watching it only to find out how it will end. Luckily it ended perfectly making it crystal clear that prisoners of passions and killers of harmony always get what they always asked for which is = HELL on EARTH.

I would recommend this movie to people who have to learn something new each day even though it may be very disturbing to watch something like this. ... Read more

Reviews (22)

Portrait of an Old Lion and a Tired City
For whatever reasons, this film never has received the recognition and appreciation I think it deserves. It was directed by Louis Malle and stars Burt Lancaster as Lou. (In Atlantic City, first names are all you need to know about those around you.) Malle carefully develops three different story lines: Lou's long-term affair with Grace (Kate Reid), a mobster's widow; Lou's relationship with Sally (Susan Sarandon) to whom he feels both a paternal and romantic attraction; and his symbiotic relationship with Atlantic City. Both he and the city seem long past their prime. During the course of the film, Sally also becomes a widow. Credit Malle and his excellent cast as well as cinematographer Richard Ciupka for creating and then sustaining an atmosphere of deterioration and menace. Special note should also be made of John Guare's screenplay. He, Malle, Lancaster, Sarandon, and the film were all nominated for an Academy Award. (FYI, The respective winners in 1980 were Bo Goldman for Melvin and Howard, Robert Redford for Ordinary People, Robert De Niro for Raging Bull, Sissy Spacek for Coal Miner's Daughter, and Ordinary People.) Toward the end of his career, Lancaster accepted a series of roles (including this one) which enabled him to explore and reveal subtle nuances of character and personality which much earlier roles neither permitted nor required. My own opinion is that his performance as Lou is his greatest achievement as an actor.

However, in certain respects, Atlantic City itself really is the dominant character. I recall brief visits to it in the 1970s. The city then bore little resemblance to what it has since become, at least in the casino area. Of course the city then bore little resemblance, also, to the elegant seaside resort it once was 75 years earlier. My guess (only a guess) is that Malle's work in this film -- especially his establishment and enrichment of precisely appropriate tone and atmosphere -- had a significant influence on later films such as House of Games (1987), Miller's Crossing (1990), Billy Bathgate (1991), Road to Perdition (2002), and The Cooler (2003). As I said, just a guess.

One final point: I think it is a disgrace that the so-called "special features" provided with the DVD version are limited to "Theatrical trailer(s)" and "Widescreen anamorphic format."

Atlantic City: Beautiful Movie with Plenty of Floy Floy
Atlantic City is one of my favorite films of all time. Usually one when makes lists of their favorite films there are many big budget blockbusters on them but not me. Atlantic City is the best movie made of its year and was vastly ignored as far as awards go. Its director, Louis Malle gives us a wonderful story of passion, lost memory and pipe dreams. Everywhere there seems to be decay, ruins, buildings being torn down, people deparate for a drug score, people holding on to the past, unable to cope with reality. John Guare wrote one of the smartest, funny, film scripts of all time, and each time I watch this gem of a film, I find more verbal riches, more warth, humanity, great and subtle humor, and surpise. Burt Lancaster, as Lou the small time hoodlum and numbers man, is a wonder to behold; how many actors have this great a performance so late in a long career and this performance ranks with his best? Susan Sarandon's performance is great also, showing beauty, tenderness, toughness, and sadness. The suppoting cast, like the great Kate Reid as the widow of "Cookie" Pinza, steal scenes left and write. When asked if Reid was a Miss America contestant Lou replies "She was more like Miss Pinball Machine." Malle directs the vilolence well but doen't overdo it-his mobsters are scary and believable but well played. The cinematography is wonderful and there is a burnished light around the locations, the buildings and the air full of the salty spray of decadence. The most beautiful scene, Lancaster watching Sarandon bathe her upper body in lemon juice is magical, as in the ritual she turns on an opera tape and is watched and coveted my an aging man. The scene is never lurid but just the opposite-sexy, bright and full of warmth,the camera going back and forth between Lancaster's eyes and his goddess getting the fish market smell where she works off and is just as stunning as the rest of the film. Rediscover this film if you have never seen it, for Louis Malle was a world class film director and I feel this is his best film in English, a complex and beautiful masterpiece no wrecking ball will ever destroy. Highly recommended.

Small Charming Movie
Screen legend Lancaster and a then up and coming but still mostly unknown Sarandon are great together in this affecting melodrama about an aging tough guy who never amounted to much and a hopeful card dealer who is going nowhere fast. He has one last adventure and she faces the grim facts of life once and for all. Their sad, washed out lives mirror the sad washed out Atlantic City. If you can't make it in Las Vegas, try Atlantic City and, if you can't make it in Atlantic City, you might as well pack it in. Nominated for a bunch of academy awards but won nothing in an excellent year for movies.

A pearl of great price
Burt Lancaster only got better with age and this has to be one of his shining roles, as a two-bit gangster (Lou Pasco) long past his prime, unwittingly involved in what would be his final deal. Louis Malle captures Atlantic City in its decline, telling a wonderful story of misplaced souls who struggle to find their place. Susan Sarandon turns in a memorable performance Sallie Matthews, who soon becomes Lou's love interest as she washes away the smell of brine from her shoulders in one of the signature scenes in the movie.

Malle constructs an elaborate story dealing with the gangsterism of Atlantic City past and present. Lou finds himself the reluctant paramour of Grace, the widow of a former crime boss, who Lou worked for. A relationship Malle never loses sight of as he develops the relationship between Lou and Sally, taking it to its fitting conclusion.

Malle has such a fine eye for detail, which made him one of the best directors in cinema. He brings his French sense of realism to Hollywood, playing off American gangster films in the same way Truffaut did, but creating what I think are more captivating films. Atlantic City is a pearl. It is so well rounded and lustrous that one can watch this movie over and over again and be enchanted each and every time.

One Of Louis Malle's Best!
As of late I have been watching the films of Louis Malle. I have watched some movies for the first time and others a second time around. What I've noticed about Malle is the way none of his films seem to have a distinctive feel to them. He seems able to direct every movie in a different style that is relatable to it's story. Each film carries it's own personal tone to it. Watch "Au Revoir Les Enfants", "My Dinner With Andre", "Damage" and this film. I don't notice any similarities in Malle's style of directing. And I guess that's a good thing.

"Atlantic City" is a film about lost hopes and dreams. The movie's most interesting character I feel is Lou (Burt Lancaster). A small time hood who remembers Atlantic City in the "old days". He claims he at one time knew all the famous gangsters. Lou is at an age in his life where he feels regret. He thinks where is his big payoff? For the past 40 years he has been Grace's (Kate Reid) bodyguard\boyfriend. And now seeks something more. He want to be one of those people who feels "important". He wants money and beautiful women around him. He wants to live it up in his old age.

The other main character is Sally (Susan Sarandon). A woman who is now on her own after he husband left her for her sister, who is now having a baby! Sally wants to become a dealer in a casino. She feels she has a lot to look forward to in the future. Things seem to be shaping up nicely for her and with enough time may get her life back on track.

What I like so much about "Atlantic City" is how Malle seems truly interested in these characters. This is one of those movies where the strenght lies not within the plot, but the people. Its the characters who make the movie because we can see ourselves in them. At one time or another I bet we have all felt a bit like Lou. I'll freely admit I have at times. We have all felt down asking ourselves when will our luck turn around. When will we hit the jackpot? For Lou it will come sooner than he thinks. But, Malle doesn't rush the movie. He lets the movie flow at its own rhythm. He really cares for these people and is willing to take the time to tell their stories. And in the end "Atlantic City" is a touching story that most people should find enjoyable.

At it's time of release "Atlantic City" was showered with awards and nominations. The movie went on to earn 5 Oscar nominations including "Best Picture". It won 7 Cesars awards, including "Best Picture" and it also won the Golden Lion award for "Best Picture". And Roger Ebert named it one of the ten best films of 1981!

I don't know if it was in some way meant as a joke or if I personally just got a kick out of this but Wallace Shawn has a brief cameo in the movie as a waiter. In a movie Malle made that same year "My Dinner With Andre" Shawn had a role in that movie. That movie was set with two people in a restaurant having dinner. This time around, Shawn is now the waiter. I don't know why but I just thought I'd mention this.

Bottom-line: One of the best films of it's year. Director Malle does a wonderful job of telling the story. The characters seem real enough where we give them our feelings. A strong touching movie. ... Read more

Reviews (2)

Wonderfully written and directed
Alamo Bay should be in everyone's video collection. The story is written beautifully. Loise Malle is a great director. I highly recommend this movie. I am not sure why Tri-Star hasn't yet released this film onto DVD. I would really love to see special features too. But it on video is just fine. Anyone should enjoy this film. I've seen it over ten times and i'm generally a murder mystery/horror fan!!!! Now if that doesn't say anything I don't know what does!

Unnerving, engrossing political drama...
ALAMO BAY is one of those rare films that will engross the viewer or leave him indifferent or even bewildered about "Que paso?" In my estimate French Director Louis Malle has crafted a powerful political drama/tragedy that ultimately approaches the mythic. Ed Harris portrays Shang. He is a former, decorated commbat veteran of the Viet Nam war whose livelihood as a Texas Gulf Coast shrimp fisherman is threatened by the BANK's uwillingness to grant him loan extension for his boat AMERICAN DREAM; and the influx of immigrant, former Vietnamese, novice-fishermen who are willing to work "34-hour days" to stake a claim on the Gulf's limited bounty and establish their own businesses. Amy Madigan plays Glory, his former high school sweet heart. She employs a large number of Vietnamese in her father's (played with quiet ruggedness by Donald Moffat) very profitable, Brand Name shrimping fleet. Political/racial tensions build and escalate; violence threatens. At this moment the Klan appears...ready to exploit the inevitable clash for its own agenda. Director Malle is pitiless in depicting the ironies the film explores. Here is "Shang", All-American hero, perhaps to be "deprived" of his share in the American Dream by the people he fought to defend and the woman he loves. Nor does the Director allow easy answers...particularly in a denouement that unnerves and chastens with its refusal to shrink from the questions: When is patriotism the refuge of the scoundrel and What is the American Dream and who is it for? The last frame is a "shot" of OLD GLORY...Amy Madigan's flaming red hair; sky-blue eyes and grim, pale-as-a-ghost marble visage: sweating, bloody and streaming tears. The AMERICAN IDEA has won...but the cost has been terrible and who, indeed, would eagerly stand to its DEFENSE? The town where many of these events "occurred" two decades ago is called Kemah, a tiny fishing hamlet/suburb of Houston. But it is not for nothing that Louis Malle renamed his fictional battle ground, ALAMO BAY... ... Read more

Reviews (13)

The best is last
Spirits of the dead is a mixed bag of cinematic delight. Of the 3 episodes, only the last one "Toby Dammit" sustains interest. Fellini is at his best in this segment & Terence Stamp puts in a self destructive performance that has to be seen to be believed! His character, a self destructing actor who has reached the end of all worldly hope & desire wants only to leap into the chasm of death & destruction & he does so in spectactular fashion. This segment alone is worth the price of admission & Fellini caries the weight of the entire film on his capable talents. Images to delight & dialogue to astound, Terence Stamp should have won some kind of award for this brilliant performance as he portrays a burnt out actor with a death wish. You can't help but sympathize with him as he jolts his way from one bizarre interlude to another. You know you're at deaths door when you can turn down that blonde in the awards segment! Yikes!!! Never bet the devil your head!! See it!

Five Stars for "Toby Dammit".
There really is only one reason to watch this film and that is Fellini's "Toby Dammit". Terence Stamp takes the title role of an actor arriving in Italy to appear is some kind of weird religious western. He is at the end of his tether and all seems alien and disorentated to him. The Edgar Allen Poe story from which this segment is adapted from is called "Never wager your head to the Devil" and thats exactly what he does! All with the usual Fellini touch of class. Excellent.

Fellini Makes Films Like My Dreams--Exquisite Bliss
These three short films, loosely adapted from stories by Poe, are all packed with stunning landscape and exquisite set design. However, only Fellini's film manages to create a story worth retelling in its own right.

The first film is Roger Vadim's "Metzengerstein". The best thing I can say about it is that the gorgeous horse was the most effective actor in it. He knew his lines, and nodded when appropriate. Jane Fonda plays Contessa Frederica, an occasionally sadistic libertine who develops a passionate romantic attachment to the aformentioned horse. She is wondefully cruel and gorgeous, making the most out of some truly inspired little outfits. The segment is filmed by Claude Renoir, who captures some stunning images breathtaking beauty. Again, the scenes with the horse galloping and cavorting with Frederica are rather intoxicating. The story itself, however, is sacrificed on the alters of atmosphere and aesthetics. The end result is a very empty film.

Louis Malle's "William Wilson" basically has two really excellent scenes that make this worth watching. The first is a simple send-up of an autopsy. Wilson is demonstrating for his fellow Medical School classmates, the proper introductory procedure for performing an autopsy. Except, where his instructor had used the corpse of an old man--Wilson had bound a lovely, living lass and is preparing to dissect her. The other great scene involves Brigitte Bardot. Throughout this film, Bardot is unflatteringly coiffed in a black wig that is pulled back in a rather schoomarmish fashion. Her eyes are seductive, but she doesn't demand the kind of camera worship she has so often received in other films. However, the hair comes down and Bardot is soon being subjected to Wilson's birch rod. Her face, hair, and the slashes on her back are aesthetically quite sublime. Alain Delon is fair in the title role, but he lacks any real charisma. Between him and his doppelganger, I think they both possessed nearly as much charisma as the horse in Vadim's film. Overall, this film also sacrifices its story to the look of the film. The end is rather intense and powerful in its own right, but it lacks significance because the story itself isn't carried forth with any conviction or authority.

Terence Stamp is Toby Dammitt in the final film, directed by Federico Fellini. He really does an outstanding job looking washed out, confused, sick, drunk, and completely at the end of his tether. The film itself is phenomenal. It is by far the most absurdist and melancholy of the three films. In this adaptation of Poe's story, "Never Bet the Devil Your Head", Toby is jaundiced with everything possibly gained by fame in this life. He seems to represent the insidious truth of fame. He is also haunted by a sweet little girl in white, bouncing a big white ball. The scenes relating to her are the best, in my opinion. She is a sylph with terrible symbolic power. What does the ball mean? Why is she so demonstrably joyful? She can be read as pure and active--a regenerative force that is the impetus for new life. She certainly is spooky and charged with energy. She is clearly something that Toby's psyche cannot accept. Ultimately, the viewer is made privy to a series of associations in Toby's mind that help us understand his relationship with the little girl. But we are not made aware of her exact role in his downward spiral. It is impossible to fully convey the magic that Fellini captures with this film. From start to finish, there is a typically "Felliniesque" hyper-surrealism that transports the viewer into another dimension. This is the only film of the three that manages the rather daunting feats of transcendence and cinematic art. Nino Rota's score is haunting and hypnotic throughout. An absolute masterpiece overall.

The last on "Toby Dammit" is a short in itself
The first two in the detached trilogy are forgettable but the last one directed by Fellini is a classic, at first I thought it was Terrance Stamp and then I found out it was and I like him even more now. His performance is classic and the short is actually quite creepy rendition of Poe's "Don't lose you head" If I was a film student I would pay attention to this one. Hey Jane Fonda was pretty cute in her time, nevertheless the short with her was pretty bad and kind of dull, the second one was better though. Overall: good late night fright film with Fellini saving this film.

Toby Dammit is great, despite overdubs
The best story here is Toby Dammit. At first I was very annoyed that they overdubbed Terence Stamp's voice with some french actor's voice. But I think that's only because I'm so used to hearing Stamp's distinctive voice when I see his face. That soon melted away and I couldn't have enjoyed the story more (although I still think they should have left Stamp's voice alone). This is actual art on screen. It's both surreal and intensely real at the same time.

The devil as a little blonde girl freaked me out... This is another great piece of work from Fellini. Worth my money. ... Read more

Reviews (2)

midsummer nights social comedy
With a hint of Renoir's Rules of the Game as well as Chekov's Cherry Orchard, and everything in between this town and country comedy begins with the tragedy of the family matriarchs death. The extended family gathers for a weekend funeral but the ceremony is delayed because of a workers strike which has brought life to a standstill. In the stillness of the country the weekend turns into an extended retreat that becomes more and more bohemian and brazen as the country air and contact with the soil has put each character in contact with their true desires and it seems everyone is with the wrong person. An all day picnic in the sun turns into a partner swapping party but is interrupted at the last minute when rumours of government collapse reach the isolated country estate. Fearing that an all out revolution has begun the family packs up and hikes into the woods until they finally end up in a cave in an ultimate act of cultural regression. Great cast of characters make up the family members and their spouses and lovers(including hippie, lesbian, revolutionary student, resentful daughter, unsupecting heiress maid, ....). The odd assortment makes for a volatile social mix leading to all kinds of destabilising conversations and confrontations which threaten to undermine the family structure from within. Malle cleverly has the family itself come unhinged as they attempt to act out in the personal sphere those revolutionary philosophies being put forth in the public. Everyone has different notions so the result is chaos, unrestrained anarchy, but it remains funny and entertaining all the way through. As well Malle provides wise and pointed observations with a surprising amount of social insight along the way. In short you get a lot more than you might have bargained for but you're glad to get it.

Connected to Place
Urban, suburban, rootless, nomadic: if these words describe your experience, this film will leave you cold. Agrarian, transplanted, uprooted, trying to re-connect to a rich family tradition? This film is for you. The plight of a man who is part of the land, and whose land is part of him, really moved me. This film asks, "What do you value, and why?" It affirms the worth of connectedness, continuity, and deep roots, while challenging our cultural idols of speed, change, and the new. ... Read more