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the best years of a life aimée

They knew each other long ago: a man and a woman whose dazzling and unexpected romance captured in the now-iconic film, revolutionized our understanding of love. No matter: It’s those faces we’re here to see, however they’re lit and framed, and both Trintignant and Aimée (in her first screen appearance in seven years) can still fix the camera’s gaze with a single arch of the eyebrow. Director: Claude Lelouch His new film opens with a bravura long zoom onto the anxious, haunted face of Jean-Louis Duroc (Trintignant). © 2020 The Hollywood Reporter The film follows up on Lelouch’s monumental 1966 film A Man … Music: Francis Lai, Calogero, Nicole Croisille An autumnal indulgence for director and cast alike, this wistful closing chapter has little chance of repeating the big splash made by A Man and a Woman. Terms of Use | They had faces then, Claude Lelouch's saccharine sequel to 'A Man and a Woman' reminds us, but Anouk Aimée and Jean-Louis Trintignant have them still. A funny crossword game it’s not news anymore, but a crossword game that each day throws new themed crosswords might become quite more noticeable. “The Best Years of a Life” proceeds as if the events of Lelouch’s misbegotten 1988 sequel, “A Man and a Woman: 20 Years Later,” never happened: Perhaps they’ve been forgotten or tactfully ignored by Jean-Louis and Anne, or the director is enacting his own form of selective memory. Cinematically, the film is most interesting when it explores the elasticity of time itself, as in a lengthy, vaguely hypnotic sequence that superimposes scenes from both films over repurposed footage from Lelouch’s 1976 short “Rendezvous,” documenting a high-speed drive through central Paris with a hood-mounted camera. Her first hesitant meeting with Jean-Louis is awkward. Claude Lelouch's slushy romantic classic A Man and a Woman is one of the most successful, beloved and much-mocked French films of all time. In Daily Themed Crossword you. As shared memories resurface, Lelouch splices generous passages from the original film into this one, including an inevitable reprise for Francis Lai's immortal, softy cooing theme tune. When we’re not dipping into the director’s back catalog, however, this is an exercise in more sludgily prosaic sentimentalism, working towards beatific closure for everyone involved. Even so, there is bittersweet humor and poignant insight here, plus a fine cast including Monica Bellucci in a brief cameo. Something unusual happened at the Cannes premiere of “The Best Years of a Life,” Claude Lelouch’s syrupy second sequel to his trend-setting 1966 global smash “A Man and a Woman.” Not the endless, roaring standing ovation that happened when the lights came up: That’s expected, even required, of the tuxed-up crowd at Grand Théâtre Lumière, for films far better and worse than this light fondant fancy.

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