挚爱1969是由皮埃尔·埃泰执导的一部拍摄于1969年喜剧,爱情片在法国上映，主演由皮埃尔·埃泰,安妮·弗拉泰利尼,尼科尔·卡尔方,Alain,Janey,Ketty,France,Louis,Maiss,Jacqueline,Rouillard领衔。 IMDB简 Pierre married Florence, the only daughter of a small industrialist. 15 years later, he is the boss, but his middle-class life worries him a lot. When a new young and lovely secretary comes, he starts dreaming. Written by Yepok Twenty-five year old Pierre is a man who likes to play the field, about which most of girlfriends are aware. Pierre falls into a relationship with Florence Girard, who he loves and marries more out of circumstance than anything. Their life is less than the exciting one he envisioned for himself, as he ends up working for Florence's father in the office of the family business, a tannery. Old habits surface as he embarks on a few extramarital dalliances, which he sees solely as distractions from the problems of marriage, one of those problems with Florence being her mother, who Florence resembles. Thus he sees his future as that of his staid in-laws. It isn't until he is in his late thirties that he truly does begin to contemplate ending the marriage, all because of his new eighteen year old secretary, Agnès, with who he believes he has fallen in love. The questions become whether he will do anything about it, if his feeling for Agnès truly is love, whether Agnès has similar feelings for him, and how Florence truly feels about marriage to him after ten years and visa versa. Written by Huggo
The works of Pierre Étaix (1928-2016) - a French comédien, professional clown, filmmaker and moonlighting actor, who has a distinctive resemblance to Buster Keaton, both in appearance and in métier - are unavailable from 1970 to 2009 due to a legal issue with a distribution company. The truth is, Étaix’s flirtation with the Seventh Art are largely confined in the 1960s, during which he directed 4 feature films and a few shorts (all co-written by him and Jean-Claude Carrière), which are all restored to their pristine states and inducted to the Criterion collections.
AS LONG AS YOU’VE GOT YOUR HEALTH is his third feature, an anthology of four shorts. INSOMNIE (“Insomnia”) is a fetching, two-fold vampire story, crosscutting between amusing close-ups in a bedroom and a Gothic tale confected in silent-era texture, topped off with a winning twist. LE CINÉMATOGRAPHE (“the Cinema”) mixes slapstick with an innocuous satire on advertisement and commodification, it is a laugh a minute, only the minutes are not long enough.
The third short is the titular TANT QU’ON A LA SANTÉ, an anarchic burlesque of “the restlessness” that infests a modern city. It is no rest for the wicked, a whirlpool of people swarming on the street is a force majeure (here an ingeniously spliced montage does a miraculous job of dissembling an automobile). Putting on a smiley face and then stuck in the traffic, guess how long a soot-faced smile can last? Indeed, for a chain-smoking, black-eyed doctor, who looks sicker than his patients, what he prescribes for his patients is simply to relax, a luxury himself cannot afford. Also through sheer comedy of errors, a hapless pharmacist becomes the worse for wear after unwittingly intaking the medicine of his next table neighbor, personal boundary is sorely missed in a French bistro.
The fourth short, NOUS N’IRONS PLUS AU BOIS (“We Will Not Go to the Woods”), a cartoonish, sepia-hued sketch about the disharmony between city dwellers and hayseeds, is unfortunately a dud, playing up knockabout situations but its charm begins to pall quickly.
Frankly speaking, an omnibus format can rarely reflect a filmmaker’s true color, thus THE GREAT LOVE, Étaix’s final narrative feature film, clearly has a more cogent say in that. It has a similar premise to Pietro Germi’s DIVORCE, ITALIAN STYLE (1961). A middle-aged man grows tired of his wife, and is taken by a nubile hot thing. But Étaix seems to be endowed with too decent a heart to implement murder for his infatuation (that thought is only a passing fancy), and the film is an endearing tale of a decent man’s eventual overcoming of his temptation without succumbing to carnality, quite a rara avis for the adultery genre.
Playing Pierre, an industrialist who marries for comfort rather than affection, Étaix exudes a particularly humble and courteous affinity that is more Jacques Tati (for whom he once worked on MON ONCLE, 1958) than his coeval Jerry Lewis, who casts him in the unreleased film THE DAY THE CROWN CRIED (1972). Étaix’s amicable sophistication is immensely appealing because there is not an iota of the usually concomitant conceit, pretension or contempt in it. In a way, Pierre is the exemplar of a gentleman, who, against his best judgement, cottons to his new secretary Agnès (a svelte Calfan) and buffooneries ensue.
Étaix’s gags are funny, well-intentioned and mostly civil (the escalation of a canard, an amatory confession to the wrong secretary, the age gap that extinguishes Pierre’s craze) and as a director, his antics are delightful. The magic realism imagineering of scudding beds as a visual gag of a man’s marital situation is a well-conceptualized wheeze, and the literal halving of community properties also has its droll, tangy irony. Possessing charisma, humor, novelty and finesse, Étaix proves to be the whole package of a screen conjuror, the evanescence of his career is a woeful loss for audience.
At the end, when it seems that Florence (a demure Fratellini, who is also a circus artist and would become Étaix’s wife in real life. Together they would open a circus school after Étaix’s filmmaking prospects are stunted), Pierre’s wife, might also have some passing fancy of her own, that really ticks him off. THE GREAT LOVE rounds off with their comical bickering that may suggest its title’s signification, the “irrational” element is actually the “greatest” part of love!
referential entries: Jacques Tati’s MONSIEUR HULOT’S HOLIDAY (1953, 8.4/10); Buster Keaton’s SEVEN CHANCES (1925, 7.9/10); Pietro Germi’s DIVORCE, ITALIAN STYLE (1961, 7.9/10).
English Title: As Long as You've Got Your Health
Original Title: Tant qu'on a la santé
Year: 1966
Country: France
Language: French
Genre: Comedy
Director: Pierre Étaix
Screenwriters: Pierre Étaix, Jean-Claude Carrière
Music: René Giner, Luce Klein, Jean Paillaud
Cinematography: Jean Boffety
Editors: Henri Lanoë, Raymond Lewin, Roger Salesse, Andrée Werlin, Marie-Josèphe Yoyotte
从开场的教堂镜头开始，我就立刻被吸引住了。电影充满想象力、记忆、循环等等元素，有很多有趣的转场镜头，还有一组梦境镜头尤为出色：“我和我的暗恋对象在法国乡村骑着床…” 这样的场景是神奇的，异想天开的，超现实的，甚至可能有一点浪漫。
然而，它也远远超过了单纯的视觉效果。
起初，它似乎是对中产阶级存在的一种玩味审视和批判——有自视甚高、流言蜚语的泛滥，有把婚姻当作作一种经济安排、裙带关系的漠视，还有资产阶级生活单调和常规。
一位经理稳定的内心生活被新秘书的出现连根拔起，这究竟是真正的爱情还是情欲，或者更糟糕的，是为了逃离枯燥无味的常规生活而产生的欲望对象，都在电影中被探讨。
通过这个框架，皮埃尔把这种检验变成了一种观众自我反省的诠释：有时我们在脑海中建立的东西实际上并不像它们看起来的那样，有时我们不能欣赏我们所拥有的东西，有时我们缺乏沟通，有时我们会被自我感觉所迷惑，甚至不认识我们所爱的人。喜剧最后往往不止于喜剧，开始期待看皮埃尔的下一部作品了。
The works of Pierre Étaix (1928-2016) - a French comédien, professional clown, filmmaker and moonlighting actor, who has a distinctive resemblance to Buster Keaton, both in appearance and in métier - are unavailable from 1970 to 2009 due to a legal issue with a distribution company. The truth is, Étaix’s flirtation with the Seventh Art are largely confined in the 1960s, during which he directed 4 feature films and a few shorts (all co-written by him and Jean-Claude Carrière), which are all restored to their pristine states and inducted to the Criterion collections.
AS LONG AS YOU’VE GOT YOUR HEALTH is his third feature, an anthology of four shorts. INSOMNIE (“Insomnia”) is a fetching, two-fold vampire story, crosscutting between amusing close-ups in a bedroom and a Gothic tale confected in silent-era texture, topped off with a winning twist. LE CINÉMATOGRAPHE (“the Cinema”) mixes slapstick with an innocuous satire on advertisement and commodification, it is a laugh a minute, only the minutes are not long enough.
The third short is the titular TANT QU’ON A LA SANTÉ, an anarchic burlesque of “the restlessness” that infests a modern city. It is no rest for the wicked, a whirlpool of people swarming on the street is a force majeure (here an ingeniously spliced montage does a miraculous job of dissembling an automobile). Putting on a smiley face and then stuck in the traffic, guess how long a soot-faced smile can last? Indeed, for a chain-smoking, black-eyed doctor, who looks sicker than his patients, what he prescribes for his patients is simply to relax, a luxury himself cannot afford. Also through sheer comedy of errors, a hapless pharmacist becomes the worse for wear after unwittingly intaking the medicine of his next table neighbor, personal boundary is sorely missed in a French bistro.
The fourth short, NOUS N’IRONS PLUS AU BOIS (“We Will Not Go to the Woods”), a cartoonish, sepia-hued sketch about the disharmony between city dwellers and hayseeds, is unfortunately a dud, playing up knockabout situations but its charm begins to pall quickly.
Frankly speaking, an omnibus format can rarely reflect a filmmaker’s true color, thus THE GREAT LOVE, Étaix’s final narrative feature film, clearly has a more cogent say in that. It has a similar premise to Pietro Germi’s DIVORCE, ITALIAN STYLE (1961). A middle-aged man grows tired of his wife, and is taken by a nubile hot thing. But Étaix seems to be endowed with too decent a heart to implement murder for his infatuation (that thought is only a passing fancy), and the film is an endearing tale of a decent man’s eventual overcoming of his temptation without succumbing to carnality, quite a rara avis for the adultery genre.
Playing Pierre, an industrialist who marries for comfort rather than affection, Étaix exudes a particularly humble and courteous affinity that is more Jacques Tati (for whom he once worked on MON ONCLE, 1958) than his coeval Jerry Lewis, who casts him in the unreleased film THE DAY THE CROWN CRIED (1972). Étaix’s amicable sophistication is immensely appealing because there is not an iota of the usually concomitant conceit, pretension or contempt in it. In a way, Pierre is the exemplar of a gentleman, who, against his best judgement, cottons to his new secretary Agnès (a svelte Calfan) and buffooneries ensue.
Étaix’s gags are funny, well-intentioned and mostly civil (the escalation of a canard, an amatory confession to the wrong secretary, the age gap that extinguishes Pierre’s craze) and as a director, his antics are delightful. The magic realism imagineering of scudding beds as a visual gag of a man’s marital situation is a well-conceptualized wheeze, and the literal halving of community properties also has its droll, tangy irony. Possessing charisma, humor, novelty and finesse, Étaix proves to be the whole package of a screen conjuror, the evanescence of his career is a woeful loss for audience.
At the end, when it seems that Florence (a demure Fratellini, who is also a circus artist and would become Étaix’s wife in real life. Together they would open a circus school after Étaix’s filmmaking prospects are stunted), Pierre’s wife, might also have some passing fancy of her own, that really ticks him off. THE GREAT LOVE rounds off with their comical bickering that may suggest its title’s signification, the “irrational” element is actually the “greatest” part of love!
referential entries: Jacques Tati’s MONSIEUR HULOT’S HOLIDAY (1953, 8.4/10); Buster Keaton’s SEVEN CHANCES (1925, 7.9/10); Pietro Germi’s DIVORCE, ITALIAN STYLE (1961, 7.9/10).