When Will Le Bonheur Be Shown Again on Tcm
A married immature carpenter tries to brand his mistress part of his family.
Film Details
Also Known Every bit
Happiness
Genre
Release Appointment
Jan 1966
Premiere Information
New York opening: 23 May 1966
Production Company
Parc Motion picture
Distribution Company
Clover Films Corp.
Land
France
Technical Specs
Elapsing
1h 27m
Sound
Mono
Color
Color (Eastmancolor)
Synopsis
François, a young carpenter, lives a happy, uncomplicated life with his married woman Thérèse, a seamstress, and their two small children, Gisou and Pierrot, in the Paris suburb of Fontenay. On weekends he delights in taking his family on picnics in the nearby woods. One day at Vincennes he meets Emilie, a clerk in the local post role. Their first few coincidental encounters gradually develop into a passionate affair, unencumbered by guilt. This new and dissimilar love adds to François' happiness, and he becomes more than gentle, relaxed, and tender with Thérèse. Emilie accepts the fact that François loves his wife as well. 1 day he tries to explain to Thérèse the alter that has come over him. Although he assures her that his new relationship only increases his joy at being a husband and father, Thérèse is unable to empathise. She quietly submits to his lovemaking one more time so drowns herself. François mourns his married woman's death for a long time and no longer visits Emilie. Eventually, even so, he is drawn back to her, and they resume their former human relationship. She accepts the two children equally her own and joins the family on picnics, and ane 24-hour interval François makes her his wife.
Coiffure
Videos
Film Details
Also Known As
Happiness
Genre
Release Date
Jan 1966
Premiere Information
New York opening: 23 May 1966
Production Company
Parc Moving-picture show
Distribution Company
Clover Films Corp.
Country
France
Technical Specs
Duration
1h 27m
Audio
Mono
Colour
Color (Eastmancolor)
Manufactures
Le Bonheur
French director Agnes Varda's deceptively idyllic third feature, Le Bonheur (Happiness), ignited a firestorm of controversy and catapulted Varda to international acclamation and notoriety when it was released in 1965. Varda, who has been called the "Grandmother of the French New Wave" because her first feature, La Pointe Courte (1954) used product methods and storytelling techniques that anticipated those of the Nouvelle Vague, had followed that film with the critically-acclaimed Cleo from v to 7 (1962). She had also made several well-regarded documentaries.
Le Bonheur on the surface appears to tell a adequately straightforward story. Francois, a carpenter living in a suburban hamlet, is blissfully married to lovely blonde Therese, and they have ii well-behaved immature children. When Francois meets Emilie and begins an affair with her, his happiness only increases. "Happiness works by improver," he tells Emilie. Noticing his joyfulness during one of the family's country outings, his wife questions him about it. He tells her about Emilie, explaining that the human relationship is no threat to their family, that he has more plenty happiness to satisfy everyone. Therese appears to accept the situation, merely a cloud comes over the family unit'due south seemingly perfect existence.
"I don't call back I've ever worked then quickly. I wrote it in exactly three days," Varda later recalled. "I wrote the film fast and shot information technology fast, like the brilliant brightness of our short-lived summers." The film's visual design was inspired past the calorie-free-splashed colors and images of the Impressionist painters, starting with the iconic closeup of a sunflower that opens the picture. She even includes a scene in which Jean Renoir'south 1959 film, Luncheon Sur Fifty'Herbe, which is both a satire and a tribute to the Manet painting of the aforementioned proper name, plays on a idiot box. At the same time, Varda noted that "Impressionist paintings emanate such melancholy, though they depict scenes of everyday happiness." She describes her vision for the film: "I imagined a summer peach with its perfect colors, and inside there is a worm."
Jean-Claude Drouot -- and so the star of a "Robin Hood"-like French telly serial, Thierry La Fronde -- and his real-life wife Claire played Francois and Therese in Le Bonheur, with their ain children playing the motion-picture show couple's children. Reminiscing virtually the film at the time of its restoration in 2006, Drouot, who had been married to Claire since 1960, said "I believe the film actually helped u.s.a. every bit a couple, every bit a family. I makes the choice of denying oneself."
In interviews, Varda has said that she set out to understand "What is the meaning of happiness, this need for happiness, this aptitude for happiness? What is this unnamable and slightly monstrous matter?" But she has steadfastly refused to explain the film, allowing viewers to put their own interpretations on it. Many critics at the time found it disturbing at best, and amoral at worst. A.H. Weiler's review in the New York Times was typical: "At once blithesome and moving but crucially immature, disturbing and tragic.... a seeming idyll sheathed in irony, [it] is obvious and tender, irresponsible and shocking and continuously provocative.... blithely flouts moral values and Hollywood conventions but, yet, constantly captivates the centre and mind, if not the heart."
Le Bonheur became a succes de scandale all over the world, playing for nine months in Argentina and a year in Japan. The film cemented Varda'southward reputation every bit an important filmmaker of wide-ranging interests, every bit skilful at narrative moving-picture show and documentary, and she remained active well into her eighties. Nevertheless, she has never achieved the kind of fame and acclaim that many of her New Wave colleagues enjoyed.
Over the years the confusion that critics expressed about Le Bonheur persists. Does Varda seem to be supporting Francois's merits that he can provide perfect happiness to both women? Or is the film a commentary about the impossibility of happiness? Made in a pre-feminist era, is it a feminist film or an anti-feminist one? Film scholar T. Jefferson Kline, in his introduction to a collection of Varda'southward interviews, thinks that "her pic is intended to provoke a series of moral and psychological questions rather than tell a satisfying 'moral' story. Information technology is perhaps this tendency that has best characterized Varda'due south cinema and may be the reason she has never reached a larger 'pop' audience."
Director: Agnes Varda
Producer: Mag Bodard
Screenplay: Agnes Varda
Cinematography: Claude Beausoleil, Jean Rabier
Editor: Janine Verneau
Costume Blueprint: Claude Francois
Production Blueprint: Hubert Monloup
Music: Jean-Michel Defaye
Principal Cast: Jean-Claude Drouot (Francois Chevalier), Claire Drouot (Therese Chevalier), Olivier Drouot (Pierrot Chevalier), Sandrine Drouot (Gisou Chevalier), Marie-France Boyer (Emilie Savignard), Marc Eyraud (Francois's blood brother)
79 minutes
by Margarita Landazuri
Le Bonheur
French director Agnes Varda's deceptively idyllic tertiary feature, Le Bonheur (Happiness), ignited a firestorm of controversy and catapulted Varda to international acclaim and notoriety when it was released in 1965. Varda, who has been called the "Grandmother of the French New Wave" because her first feature, La Pointe Courte (1954) used production methods and storytelling techniques that predictable those of the Nouvelle Vague, had followed that film with the critically-acclaimed Cleo from five to 7 (1962). She had likewise made several well-regarded documentaries. Le Bonheur on the surface appears to tell a fairly straightforward story. Francois, a carpenter living in a suburban village, is blissfully married to lovely blonde Therese, and they have ii well-behaved immature children. When Francois meets Emilie and begins an thing with her, his happiness merely increases. "Happiness works by addition," he tells Emilie. Noticing his joyfulness during one of the family unit'south country outings, his wife questions him almost it. He tells her virtually Emilie, explaining that the relationship is no threat to their family, that he has more than plenty happiness to satisfy everyone. Therese appears to accept the situation, but a cloud comes over the family's seemingly perfect existence. "I don't think I've ever worked so quickly. I wrote it in exactly 3 days," Varda later recalled. "I wrote the flick fast and shot it fast, like the bright brightness of our short-lived summers." The film'due south visual design was inspired by the calorie-free-splashed colors and images of the Impressionist painters, starting with the iconic closeup of a sunflower that opens the film. She fifty-fifty includes a scene in which Jean Renoir's 1959 film, Luncheon Sur L'Herbe, which is both a satire and a tribute to the Manet painting of the same name, plays on a telly. At the same time, Varda noted that "Impressionist paintings emanate such melancholy, though they depict scenes of everyday happiness." She describes her vision for the moving picture: "I imagined a summer peach with its perfect colors, and inside there is a worm." Jean-Claude Drouot -- and then the star of a "Robin Hood"-similar French telly series, Thierry La Fronde -- and his existent-life wife Claire played Francois and Therese in Le Bonheur, with their own children playing the movie couple's children. Reminiscing well-nigh the flick at the time of its restoration in 2006, Drouot, who had been married to Claire since 1960, said "I believe the film actually helped us every bit a couple, as a family. One makes the choice of denying oneself." In interviews, Varda has said that she ready out to sympathize "What is the meaning of happiness, this need for happiness, this bent for happiness? What is this unnamable and slightly monstrous thing?" But she has steadfastly refused to explain the film, assuasive viewers to put their own interpretations on it. Many critics at the time found it disturbing at best, and amoral at worst. A.H. Weiler'due south review in the New York Times was typical: "At once joyful and moving but crucially immature, disturbing and tragic.... a seeming idyll sheathed in irony, [it] is obvious and tender, irresponsible and shocking and continuously provocative.... blithely flouts moral values and Hollywood conventions simply, yet, constantly captivates the eye and mind, if not the heart." Le Bonheur became a succes de scandale all over the world, playing for nine months in Argentina and a year in Japan. The film cemented Varda's reputation equally an of import filmmaker of wide-ranging interests, equally adept at narrative film and documentary, and she remained active well into her eighties. Nonetheless, she has never achieved the kind of fame and acclamation that many of her New Wave colleagues enjoyed. Over the years the confusion that critics expressed about Le Bonheur persists. Does Varda seem to be supporting Francois'due south claim that he tin provide perfect happiness to both women? Or is the film a commentary nigh the impossibility of happiness? Made in a pre-feminist era, is it a feminist motion-picture show or an anti-feminist 1? Movie scholar T. Jefferson Kline, in his introduction to a drove of Varda'due south interviews, thinks that "her film is intended to provoke a series of moral and psychological questions rather than tell a satisfying 'moral' story. It is perhaps this trend that has best characterized Varda'southward cinema and may be the reason she has never reached a larger 'popular' audience." Director: Agnes Varda Producer: Mag Bodard Screenplay: Agnes Varda Cinematography: Claude Beausoleil, Jean Rabier Editor: Janine Verneau Costume Pattern: Claude Francois Product Design: Hubert Monloup Music: Jean-Michel Defaye Principal Cast: Jean-Claude Drouot (Francois Chevalier), Claire Drouot (Therese Chevalier), Olivier Drouot (Pierrot Chevalier), Sandrine Drouot (Gisou Chevalier), Marie-France Boyer (Emilie Savignard), Marc Eyraud (Francois's brother) 79 minutes by Margarita Landazuri
Quotes
Trivia
Notes
Opened in Paris in February 1965. Also released in the United States as Happiness. Mozart selections include: the Pianoforte Quintet in E-flat Major (K.452); Music for Ii Pianos; a movement from an uncompleted symphony; the Fugue in C Minor for Piano, Four Easily (K.426); and the Adagio and Fugue in C-Minor for String Orchestra (Thousand.546).
Miscellaneous Notes
Winner of the Special Jury Prize at the 1965 Berlin Picture Festival.
Released in U.s.a. May 23, 1966
Released in United States Summer May 23, 1965
Released in Usa May 23, 1966 (New York City)
Released in United states Summer May 23, 1965
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Source: http://www.tcm.com/tcmdb/title/81089/le-bonheur/
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