Nelly et Mr. Arnaud

Titre original : Nelly & Monsieur Arnaud

NOTE IMDb

7,2/10

5,2 k

MA NOTE

Emmanuelle Béart and Michel Serrault in Nelly et Mr. Arnaud (1995)

Lire trailer1:29

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44 photos

Drama

Nelly, une femme en instance de divorce, rencontre par hasard M. Arnaud, un vieux monsieur retiré des affaires, et une relation étrange commence entre eux.Nelly, une femme en instance de divorce, rencontre par hasard M. Arnaud, un vieux monsieur retiré des affaires, et une relation étrange commence entre eux.Nelly, une femme en instance de divorce, rencontre par hasard M. Arnaud, un vieux monsieur retiré des affaires, et une relation étrange commence entre eux.

Voir les informations de production sur IMDbPro

NOTE IMDb

7,2/10

5,2 k

MA NOTE

Voir les informations de production sur IMDbPro

Nomination aux 1 BAFTA Award
- 7 victoires et 16 nominations au total

Anecdotes
Last movie from Claude Sautet, before his death in 2000. He was reportedly so happy by the public and critical reception of the movie that he didn't feel the need to make another one.

Gaffes
The movie title in French is "Nelly et Mr. Arnaud", but even though it's a common mistake, "Mr." isn't short for "Monsieur", it means "Mister". "Monsieur" is written "Mr" without the period.

Citations
Nelly: [In a fancy restaurant] There are more waiters than customers here.
Monsieur Arnaud: That explains the prices. You saved my life,
[by giving him a back massage]
Monsieur Arnaud: so that ruled out McDonald's.

Connexions
Featured in Siskel & Ebert & the Movies: Eraser/Wallace and Gromit: The Best of Aardman Animation/The Hunchback of Notre Dame/Lone Star/Nelly and Monsieur Arnaud (1996)

Avis des utilisateurs34

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9/10

A sensitive, lovely film by a master director

This comment, in the form of a poem, is dedicated to the late Claude Sautet, one of France's premier directors...

NELLY ET M. ARNAUD

Empty shelves: his library divested. Nothing written, except memory, invests this moment, this immediacy. In the dim light his worn hand almost caresses her young body, but we, in the dark, must estimate the camera's intent. What he had held in abeyance too long shadows his face.

And the rain, the hard Parisian rain. Cognac at tables for two. Another man, a younger man. These scenes will lead us to believe in temporary convenience... the "stolen moments." Vivid beauty flashed on the computer screen, four centuries preserved. Manipulated, changed, "seared with trade." What remains, embraced, has no passport, has no traveling bags. . . . . . . . . . . . . . . . . . . .

Thank you and farewell, M. Sautet