Evengyny Thanks for the memories!

Exoticalot People are voting emotionally.

UnowPriceless hyped garbage

Raymond Sierra The film may be flawed, but its message is not.

Kirpianuscus Its lead virtue is to be more than a good comedy. a film about life. and its choices. about two men, in Tigreville. and about the result of that meeting who could change everything. a film about decisions, past strangers and...Spain. nothing new, but all useful in deep sense. because it is a simple film. about simple people. and about the fundamental meanings of existence. and sure, a fine motif for see it remains the presence of Gabin and Belmondo and their almost total seductive performances.

writers_reign Despite his detestation of the New Wave (you got that one right, Jean)Gabin worked well with a new generation of actors, specifically Alain Delon and, as here, Jean-Paul Belmondo who was a genuine product of le nouvelle vague. This is a story of unlikely male friendship yet it is light years short of Il Postino in terms of intensity, it uses the unlikely bonding to generate laughs but L'Emmerdeur or virtually any of Francis Weber's other male bonding titles - Le Chevre, Les Comperes, Tais- Toi - leave it dead in the water. And yet it works, it weaves its spell, spins its web and we succumb gratefully. Of course Belmondo's sole representative of the nouvelle vague is hopelessly outnumbered not just by Gabin himself (even if by himself he is worth ALL the new waveleteers put together) but by the wonderful Suzanne Flon, Noel Roquevert and Gabriele Dorziat albeit in a cameo, all veterans of real French film making. All in all it's a joyous experience laced with a beguiling charm.

Bob Taylor Albert Quentin (Gabin) is running a small hotel in a coastal town in Normandy. He and his wife (Suzanne Flon)have settled down to a dull, peaceful existence heading into old age, when Fouquet (Belmondo), a young man gifted in flamenco dancing and getting very drunk, erupts into their lives. Soon all is turned upside-down, the teetotalling Quentin starts drinking again, and the town is treated to the most spectacular impromptu fireworks display that I can recall seeing in a movie. And that's not all... The acting is good all round: Gabin and Belmondo play off each other very well, Suzanne Flon strikes the right wistful and optimistic notes, and Noel Roquevert is very funny as the owner of a boutique where you can buy just about anything, including fireworks. Gabrielle Dorziat (of Les Parents terribles) has a nice cameo as the director of a girl's school who insists on speaking English.Henri Verneuil was a very popular director from the 50's to the 70's; without being a real auteur he had a talent for pleasing the audience. Un singe en hiver follows Mélodie en sous-sol with its fine Gabin-Delon pairing, and gave me a lot of pleasure.

MarioB I have read a recent interview with Belmondo, saying that the veteran Jean Gabin hate all that new wave french cinema when he was asked to do this movie with young Belmondo, who was, at that time, an actor who was working with the New Wave directors (Godard, Chabrol, Truffaut). But a solid friendship was born when the two men work together on that movie. In fact, the respect and this friendship seems to be very easy to see when we look at this charming movie. It's full of a sense of poetry. It's a movie about friendship, dreams, nostalgia, sadness between two men from different generations. It's also a movie about alcool, in a sense that the beatniks of that era refers to. It's also very well written. Gabin and Belmondo gives a very warm performance. You must see this wonderful movie.