Word: maud
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...more than a curiosity, however, Ma Nuit Chez Maud achieves its power through an aesthetic structure vastly more engaging than mere portraiture. Its first-person narrative frame forces you to share the experience of Jean-Louis (Jean-Louis Trintignant) through his visual point of view (also brief interior monologues), subtly builds up a tension between your sensibility and your experience of his, and finally forces a dialectical confrontation in sequence after sequence with the ultimately desirable Maud (Francoise Fabian), where his choices directly thwart your inclinations to act through him. Rohmer uses this audience identification with the human reality...
...Nuit Chez Maud exists simultaneously on both of these levels and depends on the tension between them, a kind of inverted love story that's interesting mainly for the reasons the love doesn't come off, which are metaphysical, contradictory, and above all, intellectual. A knowledge of Pascal seems important in sorting out patterns of thought, since the sophisticated conversations ("you're more of a Jansenist than I am") are often elliptical, but don't be put off: with Rohmer, as with his New Wave cohorts, academic expertise is neither necessary nor sufficient for understanding his intellectuality. Most...
...screened in the Boston area. Definite booking has already been made for Glauber Rocha's "Antonio das Mortes" and "Black God, White Devil," Jean Marie Straub's "The Chronicle of Anna Magdelena Bach," and Bertolucci's "The Partner." There is also a possibility that Rohmer's "Ma Nuit Chez Maud" will be screened...
...Bernsteins' Chinese yellow duplex, amid the sconces, silver bowls full of white and lavender anemones, and uniformed servants serving drinks and Roquefort cheese morsels rolled in crushed nuts." Then down come the incisors. "But it's all right. They're white servants, not Claude and Maud, but South Americans. Obviously, if you are giving a party for the Black Panthers . . . you can't have a Negro butler and maid." But then Felicia Bernstein (Felicia Montealegre that was) is from Chile, with a real knack for finding nonblack Latin American servants, not only for herself...
Yves Montand is perfect as Z's charismatic hero. Coutard's camera heightens his magnetism. Irene Pappas is, of course, magnificent as Lambrakis' widow. Her facial expressions speak for her suffering. Jean-Louis Tritignant ( A Man and a Woman, Ma Nuit Chez Maud ) plays the judge whose investigation, along with that of a crusading young journalist, exposes the fascists...