Actuakers One of my all time favorites.

Mjeteconer Just perfect...

ShangLuda Admirable film.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

adrian-43767 Claude Lelouch directed this masterpiece, his first directorial effort.Despite many attempts, he would never come close to the level of sensitivity, perception, and delicacy that he shows here, not just with the naturalistic performances he extracts from Trintignant and Aimée, but above all with the photography, with the reflections on the vehicle's windshield, the changing hues in keeping with changing moods, scenes along the sea front, and the lovely soundtrack by Francis Lai, including some excellent Bossa Nova tunes. Apart from some moments with the children early in the movie, the race cars are the only outdated things about this movie. The rest remains modern and gripping all the way.The highlights, to me, are the lovemaking scene - the most touching, intimate and heartfelt sexual encounter I can recall watching in movies - and the reunion. I have now rewatched A MAN AND A WOMAN some 10 times, and it has never wasted my time, but I have found new details to savor every time.

LKazan I was extremely moved when I first saw Lelouch's masterpiece. Genuine personal reasons (a car racing disaster the same year – 1966 – resulting in a painful separation) adding to the unsaid and yet so deeply expressed stress of emotion between Jean-Louis Trintignant and Anouk Aimée, still wounded and so marvellously sensitive. A poetry made tragic with recurrent flashbacks. So well served by splendid photography and music. Although at a minor level than his uncle (French champion Maurice Trintignant), Jean-Louis had himself a fair involvement in motor sports – as did Paul Newman and, best of all, Steve McQueen. Half a century later, the emotion remains deep in the core, putting « Un homme et une femme » in a very special position among my favourite films ever.

lasttimeisaw Claude Lelouch's Palme d'or winner (an honour shared with Pietro Germi's THE BIRDS, THE BEES AND THE ITALIANS 1966), which is also a two-times Oscar winner (BEST FOREIGN LANGUAGE FILM and BEST ORIGINAL SCRIPT, with two other notable nominations, BEST DIRECTOR and BEST LEADING ACTRESS).Opening with a mother telling Little Red Riding Hood to her kiddie daughter, and a father teaches his baby boy driving on the street, the movie's diegesis is a plain romance between a man and a woman, Jean-Louis Duroc (Trintignant) and Anne Gauthier (Aimée). They meet at the boarding school of their children in Deauville, although both claiming to be married, we don't see their respective spouses with them. Anne carpools with Jean-Louis to head back to Paris, en route, Anne recollects fond memory of her husband Pierre (Barouh), a movie stuntman whom later she reveal has died in an accident. During their next scheduled trip to Deauville, Jean-Louis confesses that he is a racer who survived a tragic accident which unfortunately prompted his wife's suicide. So there is nothing to hold back their mutual attraction, a widow and a widower, with two young kids, a boy and a girl, it is a perfect second chance.A MAN AND A WOMAN is an exemplar of the atmosphere cinema, unbelievably captures the zeitgeist of its time, Lelouch's incalculable interchange of its palette, between colour, black-and- white and sepia tone, is a godsend to perk up the intimacy of the close-ups and the mundanity of an unforced narrative arc. Francis Lai's iconic soundtrack lead by its enduring titular theme song (performed by Barouh and Nicole Croisille) is trance-inducing and incredibly attune to the pulse of the romance and its aftermath. The picture is also a fruit of a new generation of Gallo-trendsetters (Lelouch and Lai, are both under 30, and the crew is mostly youngsters), structurally unbridled, visually discursive, sonically enchanting, top-lined with a pair of uncontrived charmers, Trintignant and Aimée, it is a film of nigh perfection, which seems rather a windfall gauged through Lelouch's entire career path.Incisively, Lelouch's dichotomous rumination on the difference of gender politics hits the bull's eye, with regard to memories, woman is more prone to linger in the limbo of sentiments whereas man is inevitably more clinging to his carnal impulse (Jean-Louis already has a lover before he meets Anne). A bona-fide heart-stealer is the soul-touching shots of an old man with his dog on the beach side, that is how nostalgia is wondrously evoked in a movie, such a knockout picture, the more you think about it, the more affection will germinate afterwards.

jfoniok The film tells a love story in an interesting way, with several good ideas (retrospectives, ...) but also several very bad ideas (the camera turning round and round the couple in love, the dog running hence and forth). I am not sure watching just for the few good ideas makes it worthwhile. Maybe so, the director transforms the poor script into a much better film than Hollywood would.However, most importantly, the plot is silly. There is nothing unexpected, nothing out of the ordinary, plainly silly. It happens every day that two people fall in love with each other, travel together, go a long way to see each other, can't really go on with each other... What is the point of such a story?