あらすじ
十九歳のフランソワズ(M・J・ナット)が二十二歳のジャン・マルク(J・シャリエ)と結ばれたのは、彼の恋人ニコルの送別会の夜が明ける頃だっ た。彼女は奴隷のように、夫のいいなりになる妻にだけはなりたくなかった。だから、彼がフィレンツェへ旅行する時も、まったくの自分の意志でついていっ た。二人は同棲生活に入り、弁護士試験の勉強を続けた。だが合格したのはジャン・マルクだけだった。やがてフランソワズの妊娠で二人は結婚。田舎町の少年 裁判所の判事になった夫とともに都落ちした。しかし、田舎での生活はフランソワズには堪えられない。自由と独立性のある妻、車や毛皮のコートのあるパリの 生活、それが夢だった。ひそかに同級生パトリシアの父で弁護士のルーキエにたのみ、夫の就職工作をし、パリにもどることに成功した。だがジャン・マルクは 悪らつなルーキエの仕事ぶりに反対し、やめてしまった。一方、フランソワズは昔の恋人ロジェが勤めている宣伝企画会社に就職し、めきめきと腕をあげていっ た。多くの男性が彼女をとりまいたが、なかでもイタリアでの仕事の際、知り合ったパルディニ伯爵は、なにかと協力を惜しまなかった。クリスマスが近づき、 地味ながら弁護士として独立しているジャン・マルクは親子三人で旅行する計画をたてたが、フランソワズは仕事で行けなくなってしまった。留守中、彼女は、 夫の旅行先に電話すると彼はいず、娘は子供ホームにあずけられているのがわかった。というのは大晦日の夜、フランソワズはロジェとナイトクラブに行き、習 慣通り新年のキスをしたのだが、ジャン・マルクの昔の恋人ニコルが目撃してしまい、誤解したままを彼に告げてしまったのである。ニコルはジャン・マルクを 誘惑した。このことが二人を別居に導いた。六ヵ月後の離婚裁判の日、二人は再会した。どちらともなく寄りあって、互いに相手が身の潔白を誓ったと思い込み 和解。思い出の地フィレンツェに旅立った。結婚後七年目だった。ホテルにつくと、パリからジャン・マルクに電報がとどき、仕事で至急もどらねばならなく なった。空港にかけつけたが天候不良で飛行便は全部欠航。しかたなくホテルにもどった。そうとは知らぬフランソワズはパルディニ伯爵のたっての願いをきき 入れて彼の城で共に食事をし、豪華な部屋でただ一人、まんじりともせず、ベッドにも入らず夜明けをむかえた。朝、車で城を出ると、伯爵が町までの便乗をた のんだ。車がホテルの前につき、伯爵と形ばかりの別れの接吻をした。ところがベランダから、ジャン・マルクが、この光景をみてしまった。もはや離婚は決定 的なものとなった。フランンワズは、いつかジャン・マルクが、自分の潔白をわかってくれるだろうと思っていたが、彼は彼女のことはあきらめて、少年補導の 仕事にもどろうと決心するのだった。
Source : movie.goo.ne.jp
クレジット
監督 (1)
俳優 (31)
映画製作・配給会社 (4)
- 製作代表 : CICC Films Borderie, Productions Iena
- Foreign production companies : Jolly Film, Terra-Filmkunst
- Film exports/foreign sales : Pathé Films
- フランス国内配給 : SN Prodis
クレジットタイトル詳細 (15)
- Adaptation : André Cayatte, Louis Sapin, Maurice Aubergé
- シナリオライター : André Cayatte
- せりふ作者 : Louis Sapin
- フォトディレクター : Roger Fellous
- 作曲家 : Louiguy
- Assistant directors : Jacques Bourdon, Pierre Léaud
- 編集担当 : Paul Cayatte
- 録音技師 : Jacques Lebreton
- Producers : Raymond Froment, Raymond Borderie
- 撮影技師 : Adolphe Charlet
- 製作部長 : Léon Sanz
- スクリプト : Aurore Chabrol
- 装飾 : Robert Clavel
- スチールマン : Roger Corbeau
- 演出助手 : Michel Choquet
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メディアギャラリー
技術面詳細
- タイプ : 長編映画
- ジャンル : フィクション
- サブジャンル : 人生ドラマ
- テーマ : カップル
- 言語 : フランス語
- 出身 : フランス, イタリア, ドイツ
- Original French-language productions : 不明
- 製作国 : 大部分フランス (フランス, イタリア, ドイツ)
- 製作年 : 1964
- フランス公開 : 31/01/1964
- 上映時間 : 1 時間 52 分
- 経過状況 : 公開済み
- ニュメロ·デ Visa : 27551
- ビザ発行日 : 06/03/1964
- CNC助成 :
- 生産のフォーマット : 35ミリ
- カラータイプ : 白黒
- 画面セット : スコープ
- Audio format : モノラル
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About
Review
It depends on who's telling the story. How many times have we all discovered the truth and the irony in that axiom by hearing two or more individuals give their conscientious eyewitness versions of precisely the same happenings? And, indeed, how dramatically and thoughtfully have we seen it illustrated on the screen in such films as the current "The Outrage" and its classic antecedent, "Rashomon"?
Now the French director André Cayatte has turned to an extreme and novel way of giving it forceful illustration and commercial fascination on the screen. He has told the story of a marriage and its break-up in two separate films, each of them played by the same actors in the same continuity of locales.
One is the story of the disaster as recollected by the wife, the other as recollected by the husband. And, just as you would suppose, the wife's recollection of what happened is quite different from that of her spouse.
In "Anatomy of a Marriage," a tandem title for the films that opened here yesterday at separate theaters, the wife is the strong one in the union as she reconstructs the characteristics of the marriage. She is the one who is trapped by the familiar physical consequence of a recklessly romantic love affair.
She is the one who has the foresight and the stamina to urge her spouse to take a course within his compass in the building of his career. And it is she who takes over as breadwinner when he cannot quite carry the load. She goes on to become a successful career woman, thus arousing his fatal jealousy.
This exposition of the drama, entitled "My Days With Jean-Marc," is being presented in a sweetly feminine atmosphere at the Cinema Rendezvous on West 57th Street; the husband's side, entitled "My Nights with Françoise," is being shown in an aura of masculinity at the Little Carnegie, one block up the street. They way the husband recalls it is strikingly—almost shockingly—different from the recollections of his wife. One ticket, incidentally, covers admission to both films ($2.50 on weekdays, $3 on weekends).
The husband recalls himself as the noble one in the solution of their embarrassed love affair, and as the cool and sensible director of his legal career. He also remembers that his continuation in the work that he loved in a provincial town had to be abandoned because of the petulant misbehavior of his wife. The way he recalls the progress of her successful career is in a series of dismal recollections of shameful affairs with other men, disregard for his feelings and callous neglect of their child.
Obviously, these two pictures, seen (as they must be seen) in an arbitrary continuity with an arbitrary lapse of time between, do not have the unity and cohesion of a single piece of work. They have the characteristic of two separate case histories, recognizable as related only because the people and the places are the same.
Nor do they have a rounded and satisfactory dramatic construction as separate films. Each is so completely developed to generate sympathy for one spouse that the other becomes a transgressor with no redeeming qualities to balance the scales. Without the beforehand knowledge that the other side may be seen in the second picture, the viewer of only one might be put out.
Yet, with that prefatory knowledge, it is hard to imagine anyone, after seeing one of these pictures, not rushing as fast as he can to the other one, or Mr. Cayatte has developed, in each instance, a most insistent and provocative case that leaves one curious and aggressive, in one way or another, depending upon one's sex.
He and his writers have selected significant incidents by which to illustrate the differences of interest of the huband and wife. The husband, for instance, lays much store by the embarrassment of his mother in his life; the wife has little interest or recollection of her mother-in-law. Simple and subtle details that appear differently in the two films give striking clues to the distress and anxieties that weigh heavily in their minds.
Also, both films are played shrewdly and with revealing variations. Jacques Charrier as the husband and Marie-José Nat as the wife skillfully portray the characteristics of nobility and selflessness or pettiness and shame. Michel Subor is fascinating as the former lover and still good friend of the wife, and Jacqueline Porel is interesting as the husband's mother. There are other splendid characterizations of Parisian and provincial types, etched and developed in the familiar, crisp Cayatte style.
And yet, when you come down to it, the two main characters in these films are distinctly commonplace people, inadequate to responsibility, immature and hardly worth the exceptional attention that is given to them. The range of their disagreement is so wide, indeed, that one feels a third film would now be in order to tell what really happens to them.
Incidentally, I would suggest that the order in which to see them is the husband's story first, then the wife's. The latter concludes on a more realistic and logical note of hope.
© Bosley Crowther, "The New York Times", October 27, 1964.
