comment dire que cette vidéo m a subjugé grace a toi j ai vu des choses que je n avais pas vu a mes deux visionnages de ce film dans lequel je n arrivais pas a rentrer dedans merci pour tout
My apologies for writing in English not French. I see the film in a different light and in my opinion the words you used to describe the musical piece of Ravel apply to Stefan. It is indeed a portrait of a heart in winter which resembles a defective violin. He loves music and understand it deeply - deeper perhaps than Maxim who, as we understand from subtle clues is a bit superficial. It is not by chance that it is Stephane who actually does the quite, backroom work of fixing the instruments, not Maxim. Each time a broken with the sound of her violin is discussed Maxim gives incorrect suggestions, Stephane - quite and withdrawn identifies the issue and improves the sound of her instrument - her heart in the film’s chosen metaphor. It is this quiet deep understanding of music that makes a strong impression on Camille. When they discuss the tempo of her recording Stephane makes a comment that it is too fast and that is precisely why she wants him to stay - because he understands her music so deeply and helped her with his work as a craftsman and his appreciation of music. That is why this otherwise unattractive and unmagnetic man gets her attention. One more thing about Maxim. I do not understand why no comment is made on his character as flowed. From the opening monologue we are given to understand that he is highly social but that Maxim finds him superficial both with people and music. He knows the musicians, he knows their recordings, programs etc., but this is his business. They, the musicians, are his clients and so he is a bit of manipulator too. A trait in his character that makes Stephane say that he is not his friend. Friendship requires deeper affinity which Maxim also does not feel for Stephane as hinted in the opening monologue. Compare this relationship to the connection of Stephane with his apprentice. Notice the deep, ritual like atmosphere of their work together, the way Stephane transmits his secrets to the young man. At the end of the film we see that the young man has chosen Stephane in his new workshop, not Maxim. Just like another personage in the film - Camille. Maxim is much older than Camille but has no qualms of seducing her. He explains his technique cooly, suggesting that there had been other such encounters with musicians before. But Camille is obviously different, so different in fact, that Stephane is stirred by the fact that this has happened. One detail on Maxim: he leaves his wife for this very young and inexperienced woman who obviously can be influenced by others - her friend/supervisor etc. When Stephane mentions Maxim’s wife Maxim says: “someone has to suffer”. So the wife gets the suffering, he Maxim gets the pleasure and the beautiful young girl who is too insecure to block him. When Stephane understands that they are moving together in the apartment, he gets sick. Jealousy plays a part for sure but also genuine feeling for the qualities of this talented girl - Camille - touched by grace. He knows Maxim too well. He is definitely not touched by grace and has not much to give her once she grows up a bit as a person as a musician. We understand that towards the end. She travels and grows, Maxim remains the same… One more thing about Camille. She is not perfect too. She falls for Maxim who he is sleek and attentive but moves her emotional attachment to him whenever she feels something deeper with Stephane. Just like that, Maxim is out, Stephane, the friend, is in with a suggestion to go to a hotel. This is immature and egoistical and therefore false. False note, false music. Stephane refuses. It is true that his response is cruel. He says that he does not love her and that she misunderstood the situation. But did Stephane understand the situation? Did this man can fix other people sound’s fix his own? He loves music deeply but does not play out of fear or excessive love. This is what his teacher said. He has deep knowledge of music but speaks only to the point, professionally, to fix something, to resolve an issue. This is how his love is shown including for his suffering teacher. He does the job. The all important act. In the end he does wake up. The words of Camille stir him and he goes to her to speak. It is her turn to reject him. The scene in the end shows him realising that just as music he has excluded himself out of love and life itself. He loves them but will look at them at a distance: admiring, helping hidden in a backroom but not really there. All three characters are complex, real, contradictory - manipulative and sincere, loving and egotistical, open and closed and this is what makes all parts of the music of Ravel so important. They stay together but this together goes through radically different phases, tempos, styles.
J'ai toujours été intriguée par la relation entre Lachaume et madame Amet, qui se vouvoient la journée ("Madame Amet, venez voir cette merveille", dit Lachaume devant la marionnette), et ne se tutoient que la nuit, lorsque plus personne ne les voit et les enfants ne sont plus là... Je me rends compte que nous découvrons cette relation exclusivement à travers les yeux de Stéphane et en sa présence, lorsqu'il assiste par hasard à deux scènes auxquelles il n'était pas censé assister: une dispute de vieux couple, où Lachaume finit par avouer qu'il ne veut pas que madame Amet le quitte; et ensuite le malaise de Lachaume - et là madame Amet l'appelle sans pudeur "Mon Louis". Il est clair que ce couple-là est significatif pour le personnage de Stéphane. Peut-être représente-t-il l'autre face de l'amour?
Votre commentaire est très juste et fort bien vu. Cela m'avait un peu échappé. Comme un amour secret et authentique, jusque dans l'acceptation de la mort de Lachaume, volonté approuvée par madame Amet par amour et respect. C'est d'ailleurs en assistant en secret à ces scènes que le héros de notre temps change peu à peu... Mais trop tard.
Comme d'habitude, la vidéo a été bloquée deux jours. La voilà mais elle peut être suspendue avant un nouveau recours. Site Twitter : twitter.com/odysseus_cinema Et pour nous aider grâce à Tipeee : fr.tipeee.com/yannick-ro
merci beaucoup pour votre travail, pourriez vous faire l'analyse de César et Rosalie ou de Max et les ferrailleurs ? Merci par avance, bon courage et surtout, continuez !
J adore il nous manque😊❤
Mon film préféré de Claude Sautet
C’est remarquable ! Je découvre votre analyse et elle est… Remarquable 🙏
Je vous remercie. Cela fait évidemment plaisir de voir un long travail récompensé.
Superbe masse de travail d'analyse concentrée en 52 minutes. Bravo à tous les deux.
Je vous remercie beaucoup.
C'est rare que je m'abonne direct, mais là, je suis obligé. Merci beaucoup pour votre travail de grande qualité.
Quel magnifique travail ! Merci beaucoup.
Excellent. Merci
Excellent, travail incroyable une des meilleures chaîne youtube.
Vidéo absolument excellente ! Merci beaucoup
comment dire que cette vidéo m a subjugé grace a toi j ai vu des choses que je n avais pas vu a mes deux visionnages de ce film dans lequel je n arrivais pas a rentrer dedans
merci pour tout
Je vous remercie beaucoup. C'est le but et quand il réussit, il est atteint. Là c'est un film très fin qui change l'image que Claude Sautet avait.
@@odysseusvoyageaucentreducinema oui effectivement
magnifique analyse qui est le pendant pour moi de votre autre magnifique analyse "Breve histoire d'amour" de Krzysztof Kieslowski
Oui c'est vrai. Il y a aussi quelque part le film de Buñuel, Belle de jour. Un autre arrive...
Qu'est ce que j'aime le premier mouvement de Ravel ❤️
Excellente critique !
Oui c'est très très beau. Et c'est rare qu'un film subtil se sert intelligemment de la musique classique.
J'ai ajouté le premier mouvement du quatuor de Ravel.
My apologies for writing in English not French.
I see the film in a different light and in my opinion the words you used to describe the musical piece of Ravel apply to Stefan. It is indeed a portrait of a heart in winter which resembles a defective violin. He loves music and understand it deeply - deeper perhaps than Maxim who, as we understand from subtle clues is a bit superficial. It is not by chance that it is Stephane who actually does the quite, backroom work of fixing the instruments, not Maxim. Each time a broken with the sound of her violin is discussed Maxim gives incorrect suggestions, Stephane - quite and withdrawn identifies the issue and improves the sound of her instrument - her heart in the film’s chosen metaphor. It is this quiet deep understanding of music that makes a strong impression on Camille. When they discuss the tempo of her recording Stephane makes a comment that it is too fast and that is precisely why she wants him to stay - because he understands her music so deeply and helped her with his work as a craftsman and his appreciation of music. That is why this otherwise unattractive and unmagnetic man gets her attention.
One more thing about Maxim. I do not understand why no comment is made on his character as flowed. From the opening monologue we are given to understand that he is highly social but that Maxim finds him superficial both with people and music. He knows the musicians, he knows their recordings, programs etc., but this is his business. They, the musicians, are his clients and so he is a bit of manipulator too.
A trait in his character that makes Stephane say that he is not his friend. Friendship requires deeper affinity which Maxim also does not feel for Stephane as hinted in the opening monologue.
Compare this relationship to the connection of Stephane with his apprentice. Notice the deep, ritual like atmosphere of their work together, the way Stephane transmits his secrets to the young man. At the end of the film we see that the young man has chosen Stephane in his new workshop, not Maxim.
Just like another personage in the film - Camille.
Maxim is much older than Camille but has no qualms of seducing her. He explains his technique cooly, suggesting that there had been other such encounters with musicians before. But Camille is obviously different, so different in fact, that Stephane is stirred by the fact that this has happened.
One detail on Maxim: he leaves his wife for this very young and inexperienced woman who obviously can be influenced by others - her friend/supervisor etc.
When Stephane mentions Maxim’s wife Maxim says: “someone has to suffer”. So the wife gets the suffering, he Maxim gets the pleasure and the beautiful young girl who is too insecure to block him.
When Stephane understands that they are moving together in the apartment, he gets sick. Jealousy plays a part for sure but also genuine feeling for the qualities of this talented girl - Camille - touched by grace. He knows Maxim too well. He is definitely not touched by grace and has not much to give her once she grows up a bit as a person as a musician. We understand that towards the end. She travels and grows, Maxim remains the same…
One more thing about Camille. She is not perfect too. She falls for Maxim who he is sleek and attentive but moves her emotional attachment to him whenever she feels something deeper with Stephane. Just like that, Maxim is out, Stephane, the friend, is in with a suggestion to go to a hotel. This is immature and egoistical and therefore false. False note, false music. Stephane refuses.
It is true that his response is cruel. He says that he does not love her and that she misunderstood the situation. But did Stephane understand the situation? Did this man can fix other people sound’s fix his own?
He loves music deeply but does not play out of fear or excessive love. This is what his teacher said. He has deep knowledge of music but speaks only to the point, professionally, to fix something, to resolve an issue. This is how his love is shown including for his suffering teacher. He does the job. The all important act.
In the end he does wake up. The words of Camille stir him and he goes to her to speak. It is her turn to reject him. The scene in the end shows him realising that just as music he has excluded himself out of love and life itself. He loves them but will look at them at a distance: admiring, helping hidden in a backroom but not really there.
All three characters are complex, real, contradictory - manipulative and sincere, loving and egotistical, open and closed and this is what makes all parts of the music of Ravel so important. They stay together but this together goes through radically different phases, tempos, styles.
Thank you
J'ai toujours été intriguée par la relation entre Lachaume et madame Amet, qui se vouvoient la journée ("Madame Amet, venez voir cette merveille", dit Lachaume devant la marionnette), et ne se tutoient que la nuit, lorsque plus personne ne les voit et les enfants ne sont plus là... Je me rends compte que nous découvrons cette relation exclusivement à travers les yeux de Stéphane et en sa présence, lorsqu'il assiste par hasard à deux scènes auxquelles il n'était pas censé assister: une dispute de vieux couple, où Lachaume finit par avouer qu'il ne veut pas que madame Amet le quitte; et ensuite le malaise de Lachaume - et là madame Amet l'appelle sans pudeur "Mon Louis". Il est clair que ce couple-là est significatif pour le personnage de Stéphane. Peut-être représente-t-il l'autre face de l'amour?
Votre commentaire est très juste et fort bien vu. Cela m'avait un peu échappé. Comme un amour secret et authentique, jusque dans l'acceptation de la mort de Lachaume, volonté approuvée par madame Amet par amour et respect. C'est d'ailleurs en assistant en secret à ces scènes que le héros de notre temps change peu à peu... Mais trop tard.
Comme d'habitude, la vidéo a été bloquée deux jours. La voilà mais elle peut être suspendue avant un nouveau recours.
Site Twitter : twitter.com/odysseus_cinema
Et pour nous aider grâce à Tipeee : fr.tipeee.com/yannick-ro
La page Tipeee ne donne pas la possibilité d'aider, juste d'envoyer un message ?
@@garmonboland Hum... je ne sais pas s'il faut s'abonner ou alors voir à : fr.tipeee.com/yannick-ro
@@odysseusvoyageaucentreducinema Ah oui sur ce lien ça fonctionne !
merci beaucoup pour votre travail, pourriez vous faire l'analyse de César et Rosalie ou de Max et les ferrailleurs ? Merci par avance, bon courage et surtout, continuez !