The Last Metro details
|Starring:||Paulette Dubost, Stephane Audran, Stephane Audran, Heinz Bennent, Jean Poiret, Gerard Depardieu, Catherine Deneuve, Andrea Ferreol|
The Last Metro
|Run time:||2 hours 7 minutes|
|Rental release:||26 Aug 2002|
Most helpful review
Truffaut's best??By Bill Johnson from Leamington Spa , 02 May 2004
[Highly rated reviewer]The title derives from the curfew in German occupied Paris when all the inhabitants had to scurry to catch the last metro to get home at 11-0-clock to avoid arrest. The film is about a theatre whose director Jewish Lucas Steiner (Heinz Benent)has supposedly fled the country to escape Nazi persucution. In reality his wife Marion (Catherine Deneuve) is hiding him in the cellar of the theatre. They are about to put on a new play and to keep from going stir-crazy Steiner gets the idea of directing the show by listening to rehearsals through an air duct in the basement. The leads in the play (and the film) are played by Marion and Bernard Granger (Gerard Depardieu) and as they develop their roles in the play they gradually fall in love in real life. We discover that not only is Marion breaking Nazi law by hiding a Jew but Granger belongs to the resistance and is blowing up Nazi VIPs. As they fall in love the the threat from the Nazis grows. The Gestapo arrest Granger?s collaborator and the police gradually get nearer to discovering Steiner in the cellar and at the same time the theatre itself is menaced by a take over from an anti-semitic journalist named Daxiat (Jean Louis Richard).
The acting is impressive right down to the bit parts and all the elements seem to make for this film being an impressive nail-biter yet Truffaut makes it a curiously undramatic movie, he prefers to focus only on the characters of the protagonists and their reactions to the threats building up around them. It starts and ends in documentary style with little maps showing what was happening during the war. In the body of the film there are no histrionics, no over the top dramatics, no stunts, no special effects. It is like an early Hitchcock minus the big bang at the end.
When it came out in 1980 it was very popular in France, in fact Truffaut?s most popular movie. It won 10 Cesars (French Oscars) and yet personally I don?t think it comes close to Les 400 Coups or Jules et Jim.
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Truffaut in nostalgic moodBy Geofbob (50 reviews) , 24 Dec 2012This is Truffaut in Poetic Realism, rather than Nouvelle Vague, mode. As with Marcel Carné's films, low humour & high drama alternate; & much of the focus is on trivial detail & minor characters rather than on the main plot, involving the fate of a Parisian theatre & its missing Jewish owner/director. The film is enjoyable for the interaction of the characters; its recognition that life & love have to carry on even in extreme circumstances; & for the sly irony that the crucial stage play, on which the future of the theatre depends, seems to be a rubbishy melodrama.
A mysterious title thoughBy Madametruffaut (2 reviews) , 03 May 2012A great film. Depardieu and Deneuve are a match made in film heaven. Very entertaining with a lovely amount of self reference, suspense and gentle humour. Capturing the theatrical world of its time in great style.
Self-indulgence in the world of DSKBy a customer , 02 Aug 2011Wooden performances, amateurish and camp in some cases, unbelievable and unplotted passion between Deneuve and Depardieu, creaky studio-bound filming. Or is it all about alienation? Yet another film and set of behaviours in the DSK mould - self-indulgence which should have been nipped in the bud at an early age with a good slap across the legs.
Excellent filmBy beallenuk (3 reviews) from London , 14 Nov 2010Loved the film - fantastic performances by all concerned, esp. Catherine Deneuve. Just one technical moan, however. At the end, the theatre director appears to be arrested twice, with the same passer-by in each shot.
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I don't get itBy driveindavy (66 reviews) from scotland , 22 Sep 2010Here's a film the highbrow critics love but I don't get it. I found it muted and bland, lacking any edge in filming style or performances. If it hadn't come with such praise - the emperor has no clothes? - I would have enjoyed it more for the stunning Deneuve and always interesting Depardieu although they were both too restrained, as was the film as a whole. Not my taste but I'll try Truffaut's Day for Night next.