Chirphymium
It's entirely possible that sending the audience out feeling lousy was intentional
WillSushyMedia
This movie was so-so. It had it's moments, but wasn't the greatest.
InformationRap
This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.
BiiivAL
One of my favorite childhood French films, which with great success was in the 70's in the Soviet box office. It's hard to say exactly what this film is about - about love, about war or about revenge. As it seems to me, this film from the category of stylish and very thin."In a conversation with a Frenchman, never touch upon the theme of the Second World War and, especially, the fascist occupation," - because we are taught by the French experts.It is known that almost every Frenchman lives with the awareness of his national exclusiveness. This feeling was brought up for many centuries. Therefore, to shoot a French movie about the events that are associated with the defeat and surrender without a fight of entire cities is a very delicate matter for the filmmaker.Probably, I will leave not far from the truth, if I assume that the French were waiting for such a film. They were waiting to again justify themselves (first of all, before themselves), once again skillfully revenge, and prove that even during the years of occupation they remained real Frenchmen - the cleverest, the strongest and able to truly love.On the other hand, the authors of the film needed to withstand a certain political correctness and, if possible, not to abuse the demonstration of the cruelty of the German invaders. The fact is that during the filming of the film, two-year talks ended in Europe, concluding with the signing in 1975 of the Final Helsinki Act (the birth of the OSCE). In fact, this meant a great European truce and the beginning of a new life together. And during the truce, it is known what happens to the eye of someone who remembers the old ...All this complicated the task of director Robert Enrico, but he masterfully operated with all the film tools, coped with it "perfectly", although in an ordinary French manner in a florid manner.One of the director's finds is the combination of flashbacks, that is, the memories of surgeon Julien about pre-war life, his acquaintance and love with Clara, and the real situation where the Nazis have already occupied his country, and the doctor's hands have to take up his gun. At the same time, transitions to flashbacks do not create an acute contrast, and the romantic soundtrack of the composer Francois de Rubé helps the protagonist to swim in the waves of his memory. These memories, as it were, zombie Julien so that his revenge is not troublesome, filled with confident and prudent actions. It is much more interesting to observe the revenge when it is performed by an ordinary person. It excites and makes the viewer to empathize.Another director's luck is the successful selection of actors. Philip Noiret and Romy Schneider seem to be created for each other, a great duo. Frames flashbacks are covered with a light haze and this only emphasizes the grace and beauty of Romy Schneider.In 1976, the film was awarded the CESAR award immediately by categories: Best film (Robert Enrico), Best actor (Philip Noiret), Best music (Francois De Rube) and more ... Thanks to the viewers of different countries.
vrapp
> This is where we may wonder why it has taken so much to rouse this peaceful man; Everybody has his own threshold of awakening; and this film is actually the story of awakening - this is why the whole first part showing his peaceful life, even during the war, up until he is led to his threshold, and so the contrast between that and merciful killer that he becomes, becomes even more powerful.> The next question we find ourselves asking is why he is content to go up against men armed with pistols, rifles,machine guns, grenades and flame-throwers with only a shotgun rather than picking off one man and appropriating his weaponry.The best weapon is the weapon you are used to, the weapon you trust. Plus, this old gun together with the old castle and their old owner, become one collective weapon against the invaders. Not wise to take one piece out.
alajus
After reading other reviews and comments on 'Le Vieux Fusil' I see that this film has been vastly misunderstood. Yes it is about revenge but it is above all a love story. It is about the love of a man for his wife and daughter. I watched the movie as a teenager and have not seen it in years but to this day this is the impression it left on me. It is a beautiful love story between two people, and a man who would do anything to avenge the people he loved more than anything. Some scenes are incredibly violent and we can only imagine the atrocities people have gone through during the war. Atrocities that like in this movie make Philippe Noiret's character flip.Romy Schneider and Philippe Noiret are both magnificent in their roles.
dbdumonteil
I know a lot of people will disagree,but "le Vieux Fusil" is far from being Enrico's best .The "Dictionnaire des Films " gives no star to it,which is going a bit too far ,but is not thoroughly unjustified.Let's put it straight;Enrico's best are his early efforts :his masterful "Au coeur de la vie" ,the intense beauty of which no review will reveal,"La Belle Vie" ,a courageous plea against the Algerian war,and "les Aventuriers" a much more accessible work with Hustonian accents."Le Vieux Fusil" is admittedly a good movie;nevertheless a 7.9 rating -at my time of writing-is much more than it deserves.First part -although a fiction based on real facts dealing with the martyrs of the end of the Occupation - is the best:Romy Schneider's presence (the fact she was actually a German actress is not a problem) and the harrowing scene of her death are strong assets.But the second part could be described as "Rambo meets Louis Feuillade" .The hero singlehandedly does away with a whole German patrol who's housed in his castle full of two way mirrors,secret passages,oubliettes,etc.It looks like an old Feuillade serial circa 1915 .
