Word: pisier
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Dates: during 1970-1979
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...trick viewers into thinking that she is Cher. The blow-dried Chad Everett (Medical Center) is cast as a Pulitzer-prizewinning author who wears what appears to be a Pulitzer Prize medal on a gold chain around his neck. There are real French actors in the cast - Marie-France Pisier, Louis Jourdan - as well as ersatz French men like James Coco. Brooklynese is provided by Shelley Winters, who seems to have a habit of booking passage on doomed ships...
Once the characters have been established, the screenwriters ease up. Alex falls in love with his married teacher-a closet Americophile amusingly played by Marie-France Pisier- only to become the butt of silly sex gags. Laura veers into a nervous breakdown that gratuitously breaks the movie's antic mood. Joel's romance with a snippy French girl (Val erie Quennessen) is a hotbed of cliches; it moves us only because Chapin's likable innocence contrasts so well with Quennessen's robust, Moreau-like sexuality...
Written by Truffaut, Marie-France Pisier, Jean Aurel and Suzanne Schiffman, the screenplay presents not so much a plot as an intermingling of the past with the present. His torrid, impossible liason with the leonine Liliane (Dani) mirrors his student infatuation with Colette (Marie-France Pisier), the bouffant-haired, Capri-painted flirt he had met 20 years before at a Berlioz Youth concert. Antoine runs past her outside the courthouse where his divorce from Christine has just been made official, only to see her at the railroad station when, always the incurable romantic, he jumps aboard her train. First seen...
...three: Antoine, Truffaut and himself. The rest of the performances are equally superb. Claude Jade manages to endow the solemn Christine with a rare subtlety. Nicknamed Peggy Proper because of her almost British reserve, Jade allows this woman's wit and shy humor to shine out. Marie-France Pisier performs most of the heavy dramatics; she gives her Colette a certain desperation well-suited to a woman lawyer unable to get clients and reduced to turning tricks on the night train to Aix-En-Provence. Dorothee gives the vapid Sabine the right amount of charm and selfishness to attract...
...classic Truffaut technique, but despite uniformly vivid performances, the film never attains its promised emotional complexity. The major difficulty is the director's determination to turn Love on the Run into a retrospective of the entire Doinel cycle. Not only do old players reappear, including Marie-France Pisier of Love at 20 (1962), but so do clips from the other films. It may be a laudably ambi tious notion to refract the past through the present in such purely cinematic terms, but there is too much material to be digest ed in one movie. Too often Truffaut...