#Françoise Fabian

[weirdlookindog]

Die Weibchen (1970) - Italian poster

AKA Females; Little Women

[verypersonalscreencaps]

TOP 5 FIRST-TIME WATCHES OF JUNE 2024 1. LIANNA (1983, dir. John Sayles) 2. JANE EYRE (2011, dir. Cary Joji Fukunaga) 3. PRIDE (2014, dir. Matthew Warchus) 4. FANCY DANCE (2023, dir. Erica Tremblay) 5. ROSE (2021, dir. Aurélie Saada)

[troquets]

Jean-Pierre Marielle, Françoise Fabian, Jean-Paul Belmondo, Pierre Vernier, Pierre Hatet, candidats aux concours du Conservatoire. à Paris, en 1954.

[thierry1970]

[ghassanrassam]

1956 Brigitte Bardot in early career

[screamofdespair]

Ma Nuit Chez Maud

1969

Eric Rohmer

[ivan-hristov]

My Night at Maud's (1969), dir. Éric Rohmer

[love-beautesintemporelles]

Françoise Fabian

[smokycinderella]

Madame Claude (Just Jaeckin, 1977)

[carolpresents]

Per le antiche scale 1975 | Gifset 👆🏻

[byneddiedingo]

Françoise Fabian in My Night at Maud's (Éric Rohmer, 1969)

Cast: Jean-Louis Trintignant, Françoise Fabian, Marie-Christine Barrault, Antoine Vitez, Léonid Kogan, Guy Léger, Anne Dubot. Screenplay: Éric Rohmer. Cinematography: Néstor Almendros. Production design: Nicole Rachline. Film editing: Cécile Decugis.

A moral tale: Once upon a time, a brave and chaste knight saw a fair young lady in church, and wished that she were his. The devil, hearing this, arranged for the knight to be tempted by a beautiful sorceress. But when the knight resisted the carnal temptations of the sorceress, he was rewarded with the love and the hand of the fair young lady. Éric Rohmer's moral tale: Jean-Louis (Jean-Louis Trintignant), an engineer who has recently moved to Clermont-Ferrand, is an intellectual Catholic, determined at the age of 34 to settle down and get married after several failed love affairs. At mass one day he sees a beautiful young woman (Marie-Christine Barrault), and longs to get to know her. Leaving the church, he sees the woman get on a moped, and he follows her in his car until they are separated by traffic. Jean-Louis runs into an old friend, Vidal (Antoine Vitez), a philosophy professor and a Marxist, who takes him to see his friend, Maud (Françoise Fabian), a divorcee. Vidal gets drunk and leaves early, and when it begins to snow heavily, Jean-Louis stays to spend the night with Maud. But they do little more than talk -- about his Catholicism, about the philosophy of Pascal, about his life and hers. She and her husband were unfaithful to each other, and her lover was killed when his car skidded on the ice -- one reason she forbids Jean-Louis to drive in the snow. They literally sleep together: She in the nude, he fully clothed and wrapped in a coverlet she lends him, though both are in the same bed. In the morning he makes a pass at her that she brushes off, and as he looks out the window he sees the young woman he saw at mass, and runs out to introduce himself to her. Her name is Françoise, and she is a student at the university where Vidal teaches. They make a date for later in the day, and afterward he drives her home to her student apartment. Stuck in the snow again, he spends the night, but not in her room: She gives him a key to the apartment of another student who is away. Five years later, they are married and taking their young son to the beach, when they meet Maud on the path. Jean-Louis realizes from Françoise's reaction that she knows Maud -- in fact, Françoise, who has confessed that she had an affair with a married man, may have been the lover of Maud's husband. This is the third of Rohmer's "Six Moral Tales," and perhaps the most successful: It was nominated for Oscars for Rohmer's screenplay and as the best foreign-language film. But a lot of critics and viewers found it insufferably talky in that peculiarly French over-intellectualized way -- a curious objection to a film that features four attractive actors and a strong emphasis on sex. And the talk is far wittier than anything you're likely to hear in a movie today.

[mariocki]

Perché si uccide un magistrato (How to Kill a Judge, 1975)

"Did he say anything before he died?"

"Didn't have the time. They were pros."

"If you know anything, tell me! Don't be an idiot. You saw how easy it is to die."

[sloshed-cinema]

My Night at Maud’s [Ma nuit chez Maud] (1969)

Rohmer’s moral tale presents a study in contrasts, unfolding across two nights.  Night one is an intellectual one, framed with the facade of hedonism.  Reluctantly hauled along by his friend Vidal, Jean-Louis meets the freewheeling Maud, who has recently divorced and has choice thoughts on marriage and religion at large.  The mathematics-fixated Catholic fights a flaccid battle over Pascal and ideology before finding himself alone with this free-thinking woman.  He doesn’t reject her proposition to stay, but doesn’t come out of his shell, either, instead self-burritoing in a blanket and lying stiffly next to her all night. 

A mulligan attempt comes in night two.  Fixated on Jansenist predestination notions, Jean-Louis latches onto the blonde he’s spotted at Mass now and again, insistent on realizing their love for one another.  He ends up exactly opposite to his situation with Maud, stiff and swaddled, but this time alone in the guest room rather than sharing a luxurious bed.  One is always hot and the other cold, yet somehow it works out in this latter sense.  At least on the surface.  They pronounce love for one another almost immediately despite all other better assurances.

THE RULES

SIP

Someone says ‘Catholic’.

Pascal is mentioned.

Someone bids others goodbye.

Call-and-response in Mass.

BIG DRINK

Anxiety-inducing driving.

Math books!

The film changes to a new location.

[aloneandforsakenbyfateandbyman]

Françoise Fabian in How to Kill a Judge (1975)

[detournementsmineurs]

Martine Chevallier, Bruno Garcin, Francis Huster, Bruno Devoldère, Denise Grey, Françoise Fabian, François Perrot, Fanny Ardant, Patrice Alexsandre, Edwige Feuillère, Pierre Londiche, Hélène Vincent, Anne-Marie Quentin, Michel Aumont et Annie Sinigalia dans “Les Dames de la Côte” mini-série de Nina Companeez (1979), novembre 2024.

[france-cinema]

Belle de Jour de Luis Bunuel, 1967. Avec Catherine Deneuve, Jean Sorel, Michel Piccoli, Genevieve Page, Pierre Clementi, Françoise Fabian, Macha Méril, Maria Latour, Michel Charrel, Iska Khan, François Maistre, Bernard Musson, et Luis Buñuel. Synopsis : Le film raconte l'histoire de Séverine, une jeune femme mariée à Pierre, un médecin. Malgré son mariage, Séverine éprouve des fantasmes érotiques qu'elle ne peut pas réaliser avec son mari. Un jour, elle décide de travailler dans une maison close de luxe en tant que prostituée de jour, adoptant le nom de Belle de Jour. Elle mène ainsi une double vie, partagée entre son statut de femme au foyer et ses escapades dans le monde de la prostitution. Séverine s'épanouit dans cette nouvelle vie, découvrant un univers de désirs et de fantasmes jusqu'alors inexploré. Cependant, sa double vie finit par la rattraper lorsque l'un de ses clients devient obsessionnel et menace de dévoiler son secret à son mari. Séverine doit alors faire face aux conséquences de ses choix et décider si elle peut continuer à vivre dans cette dualité.