Le Dernier Métro

Titre original : Le dernier métro

NOTE IMDb

7,3/10

16 k

MA NOTE

Catherine Deneuve and Gérard Depardieu in Le Dernier Métro (1980)

In occupied Paris, an actress married to a Jewish theater owner must keep him hidden from the Nazis while doing both of their jobs.

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Political Drama Workplace Drama Drama Romance War

En plein Paris occupé, une actrice mariée à un propriétaire de théâtre juif doit le cacher des nazis tout en continuant de faire leur travail.En plein Paris occupé, une actrice mariée à un propriétaire de théâtre juif doit le cacher des nazis tout en continuant de faire leur travail.En plein Paris occupé, une actrice mariée à un propriétaire de théâtre juif doit le cacher des nazis tout en continuant de faire leur travail.

Voir les informations de production sur IMDbPro

NOTE IMDb

7,3/10

16 k

MA NOTE

Voir les informations de production sur IMDbPro

Nommé pour 1 Oscar
- 13 victoires et 7 nominations au total

Anecdotes
In his Chicago Sun-Times review, Roger Ebert wrote that the character of Daxiat, the collaborationist critic, "is such an evil monster that he must surely be inspired by someone Truffaut knows." Michel Daxiat was the pseudonym of the critic Alain Laubreaux (1899-1968), who wrote for the anti-Semitic journal "Je suis partout." The scene where Bernard gives him a beating is inspired by an incident when Jean Marais punched Laubreaux; after Liberation, Laubreaux shared the fate Daxiat suffers at the film's end.

Gaffes
In one scene in the cellar, during a conversation between Marion and Lucas, we can see the sound recordist hiding himself in a corner of the cellar.

Citations
Marion Steiner: It takes two to love, as it takes two to hate. And I will keep loving you, in spite of yourself. My heart beats faster when I think of you. Nothing else matters.

Connexions
Featured in Sneak Previews: Sunday Lovers/Falling In Love Again/My Bloody Valentine/The Last Metro (1981)

Bandes originales
Bei mir Bist du Schön
(Vous êtes plus Belle que le Jour)
Music by Sholom Secunda
Lyrics by Jacob Jacobs
English lyrics by Cahn-Chaplin
French lyrics by Jacques Larue

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8/10

The best of Truffaut's late films.

Francois Truffaut follows in the tradition of Jean-Pierre Melville by adapting a popular genre as a serious allegory for the darkest period in French history: the Nazi Occupation. Just as Melville used the gangster film to examine notions of legality, legitimacy, authority and criminality in a period when the Resistance were outlaws and the police rounding up Jews for the death camps, so Truffaut takes the beloved putting-on-a-show warhorse, and uses it as a metaphor for the conditions of life in Occupied France: the need to act, adapt and continually discard roles. When Depardieu's character leaves to fight for the Resistance, he puns about exchanging his make-up (maquillage) for the maquis.

What Truffaut is most interested in, as in all his films, is the effect this need for constant dissembling has on individual identity and relationships. This wonderful romantic comedy plays like a mature update of 'Casablanca', richly stylised, bravely open-ended, with Truffaut's moving camera wrenching spirit from the claustrophobic confines.