Two people fall into bed way too quickly, but somehow it all works out.
Relationships like this rarely survive in the real world, especially if one party becomes pouty and self-absorbed, but this movie is enjoyable for its suspension of disbelief.
Running counterpoint is the infectious score by Francis Lai, who composed equally captivating music for the similarly romantic "Love Story" of 1970.
I enjoyed the way Jean-Louis (Jean-Louis Trintignant) has the guts to ask out Anne (Anouk Aimée), and the way he gamely places his hand over hers in the car -- you go, guy! And the dizzying embrace on the beach, well, that's movie magic. And later, when Jean-Louis races Anne to the train station -- cinematic "extase" doesn't get better than that.
The scenes with the kids dragged a little, and were saccharine, and the couples' former spouses' deaths certainly were contrived, but, hey, these devices were necessary to bring the lovers together.
In all, this is a captivating, if far-fetched, excursion into amatory wonderment.
Relationships like this rarely survive in the real world, especially if one party becomes pouty and self-absorbed, but this movie is enjoyable for its suspension of disbelief.
Running counterpoint is the infectious score by Francis Lai, who composed equally captivating music for the similarly romantic "Love Story" of 1970.
I enjoyed the way Jean-Louis (Jean-Louis Trintignant) has the guts to ask out Anne (Anouk Aimée), and the way he gamely places his hand over hers in the car -- you go, guy! And the dizzying embrace on the beach, well, that's movie magic. And later, when Jean-Louis races Anne to the train station -- cinematic "extase" doesn't get better than that.
The scenes with the kids dragged a little, and were saccharine, and the couples' former spouses' deaths certainly were contrived, but, hey, these devices were necessary to bring the lovers together.
In all, this is a captivating, if far-fetched, excursion into amatory wonderment.