Graduate First
あらすじ
Élisabeth (Sabine Haudepin) is well-known for going around with all the guys, but she finally settles down when she meets Philippe (Philippe Marlaud), who becomes her first "real" boyfriend. Bernard (Bernard Tronczak) is similarly promiscuous; he loves all the girls and sleeps with all of them, never quite letting go even after he's broken up with them. There's also Bernard's best friend Patrick (Patrick Lepcynski), who's always trying to smooth things over for his friend, and who's never quite able to get a girl of his own, and Patrick's sister Valérie (Valérie Chassigneux), who wants to be a model. There's also Agnès (Agnès Makowiak), one of Bernard's former girlfriends who clearly still loves him, and who he still feels real affection for, even though she's marrying Rocky (Patrick Playez) instead. It's the kind of circle of friends where everyone has slept with everyone and remains friends afterward...
Source : seul-le-cinema.blogspot
クレジット
監督 (1)
俳優 (17)
映画製作・配給会社 (4)
- 製作代表 : Les Films du Livradois
- Co-productions : France 3 Cinéma, Renn Productions
- Film exports/foreign sales : Gaumont
- フランス国内配給 : AMLF
クレジットタイトル詳細 (12)
- 製作代表 : Maurice Pialat
- シナリオライター : Maurice Pialat
- Directors of Photography : Pierre-William Glenn, Jean-Paul Janssen
- Assistant directors : Jean-Marie Duhart, Patrick Grandperret, Emmanuel Clot
- Editors : Sophie Coussein, Martine Giordano, Arlette Langmann
- Sound recordists : Michel Laurent, Pierre Gamet
- Executive Producer : Micheline Pialat
- 共同製作 : Claude Berri
- 音声アシスタント : Bernard Chaumeil
- Camera operators : Jean-Francis Gondre, Gilbert Loreaux
- スクリプト : Marceline Charpentier
- サウンド･ミキサー : Dominique Hennequin
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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 : 心理劇
- テーマ : 愛, 友情, 思春期, 教育
- 言語 : フランス語
- その他の国の共同制作者 : フランス
興行収入・公開作品
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映画祭でのセレクション (1)
About
Graduate First is a 1978 French drama film directed by Maurice Pialat and starring Sabine Haudepin. The film is set in the north of France, in Lens, in a region profoundly affected by unemployment - the students, from modest backgrounds, try to forget their fears of what tomorrow will bring.
The film is an "unsparing portrait of teenage life in the French suburbs [that] sees a group of schoolfriends adrift at the end of the 1970s. There's drama, violence, and pot-induced laughs, group holidays, indiscriminate sex, advances from teachers twenty-five years their seniors, attempted moves to Paris - and few prospects of passing the Baccalauréat, the final set of exams French students take before embarking into the world...to do what? Marking the last work of Pialat's turbulent cycle of 1970s films, this is the sequel to the filmmaker's feature debut L'Enfance Nue (1969) - picked up again from a vantage point ten years on from the lives of the earlier film's protagonists."
Source : Wikipedia
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Maurice Pialat's 1979 examination of adolescents on the verge of they-have-very-little-idea-what is both an exemplary and slightly anomalous work, anomalous primarily in terms of scope. Most of Pialat's works focus on individuals (L'enfance nue, Van Gogh) or small units such as couples (Nous ne veillirons pas ensemble, Loulou) and families (La gueule ouverte, À nos amours) ; here, he looks at a social group, high-school kids preparing—or, rather, not preparing—to take the baccalaureate exams that will determine their future education. He will visit a similarly complex locus once again in 1985's dizzying Police, with its cops and criminals and hookers and prosecutors enacting a ballet in which emotional dysfunction registers far louder than the maintenance of civil order.
The character interactions of this film—set in the northern town of Lens—are not quite so phantasmagoric, if you will. Nor is there much going on in the way of traditional narrative "thrust." It really isn't until the very end of the seemingly fragmented picture that one gets a sense of what it was/is "about," and that sense might not be entirely correct in any case. One of the glorious mysteries of Pialat is how his seemingly straightforward-to-the-point-of-plainness approach—the mise-en-scène is quite deliberately un-pretty, always—can yield works that are so essentially enigmatic, that contain such riches to plumb.
Graduate First...(the title recalls the early Ozu works I Was Born, But... and, of course, I Graduated, But...) is the sort of work that might lead one to characterize Pialat as a"director of moments." Moments of thoroughgoing banality, as guys discuss the asses and the morals of their female schoolmates over refreshments, or debate the relative merits of Pink Floyd ("too slow") and Bob Marley while strolling across a beach. And then moments of chilling despair, as when soon-to-be-shacked-up Elizabeth (Sabine Haudepin, the "petite Sabine" of Truffaut's Jules and Jim) has a searing break with her mother. The realism achieves its own particular poetry pretty much around every corner. Near the end, the looking-to-be-seduced (or is she?) Frederique (Frederique Cerbonnet) invites slick Bernard (Bernard Tronczyk) to her room, so as to turn him on to the Sex Pistols. The talk turns instead to her fabulously, hilariously suggestive leotard, which Pialat shoots without a snicker or a raised eyebrow or anything. As a result, the ridiculous garment is made not merely symbolically suggestive, but practically numinous. And yet it's all within the bailiwick of near-absolute verisimilitude—look at the audience shots in any concert footage of, say, Roxy Music from the mid to late '70s and you see how right this picture gets its costume design.
A fleeting shot of a girl on horseback, a moment of carefree bonhomie in a supermarket; these, too, are significant parts of the world explored by this picture. But for Pialat, these are exceptions that prove his pessimistic rule. Some might call it his reactionary rule, given the pronouncements he makes in one interview that's reprinted in the excellent booklet of this terrific Eureka!/Masters of Cinema Region 2 U.K. DVD: "These are spoiled children, brought up like petits bourgeois...once, the maréchal ferrant ['blacksmith farrier'] for example, had his pride, he knew how to do something...But them, these young people, almost every worker's son is privileged, and never has anything in his hands!"
The strange unity that the film finally achieves receives an explanation of sorts in Pialat's pronouncement that "Lumière filmed togetherness, that is, life." Life and life only—that's what Graduate First... is made of.
© Glenn Kenny
Source : mubi.com
