Even though we are led to believe the film is about the insanity of what Paris was experiencing during the dark days of the German invasion during WWII, in reality is is a work about survival in what these characters we are presented loved most, their beloved theater, now going through hard times because of what was going on all around them.
Marion Steiner, a star on her own, has to manage the theater founded by her husband Lucas Steiner, when he flees the country. Being a Jew, he runs a risk of being sent to one of the concentration camps where most of them would die. By pretending he has left to South America, Marion and Lucas' assistant Jean-Loup are presenting a new Norwegian play that would have been Lucas' last directorial venture. The title of the piece, "Disappearance" was in reality written by Steiner and it has a hidden meaning that is only known to his wife.
The young Bernard Granger, an actor that was last seen at the Grand Guignol, is engaged to play opposite Marion. Earlier, Bernard has tried to hit on Arlette, whom unknown to him, is the costume designer for the play. Bernard is not aware, or naive not to realize Arlette is a lesbian who cares much more for the ingenue of the piece, Nadine. The company enters the rehearsal period led by Jean-Loup.
What no one suspects is that Lucas Steiner is living in the basement of the theater, where Marion goes on a nightly basis for guidance as to how the work progresses as well as for having normal marital relations and to tend for Lucas. The director figures a way where he will be able to follow all what goes on on stage by listening through an air vent that tells him what works and what must be changed.
A anti-Semitic critic Daxiat, suspects something is not quite what he sees as he comes, from time to time, to watch what Marion Steiner is doing with the play. Jean-Loup tries to play both ways and tries to be on Daxiat's esteem so the play can get its due. The critic, though, has other ideas, which come clashing with what Marion is trying to do. He even hints that Lucas Steiner is still in France for there is no record of his departure.
As the play begins, Bernard realizes he has feelings for Marion, something she clearly rejects. Marion does not encourage the young actor to be anything else, but her co-star. One gets the current between them as they continue to work together. Will what Bernard feels for Marion be returned? What with Lucas Steiner so close? The ending is a bit of a disappointment, and somewhat contrived.
Francois Truffaut set his story during WWII, but it actually does not touch too deeply into the conflict itself. It is more about keeping the facade in the way the play is, rather than the menace from the invaders of France. It is a film within a film, a tribute perhaps to the resiliency of those performers that carried out entertaining the people that flocked the theaters, perhaps to keep themselves warm and sane. Truffaut was working with his usual collaborator, Suzanne Schiffman. Nestor Almendros photographed the production which is seen mainly in interior shots done in a studio and special set in an abandoned chocolate factory.
Catherine Deneuve plays Marion Steiner with her usual reserve. Gerard Depardieu has some good moments with his Bernard. Andrea Ferreol's Arlette is perfect. Jean Poiret is seen as Jean-Loup, and Heinz Bennent plays Lucas Steiner.
Marion Steiner, a star on her own, has to manage the theater founded by her husband Lucas Steiner, when he flees the country. Being a Jew, he runs a risk of being sent to one of the concentration camps where most of them would die. By pretending he has left to South America, Marion and Lucas' assistant Jean-Loup are presenting a new Norwegian play that would have been Lucas' last directorial venture. The title of the piece, "Disappearance" was in reality written by Steiner and it has a hidden meaning that is only known to his wife.
The young Bernard Granger, an actor that was last seen at the Grand Guignol, is engaged to play opposite Marion. Earlier, Bernard has tried to hit on Arlette, whom unknown to him, is the costume designer for the play. Bernard is not aware, or naive not to realize Arlette is a lesbian who cares much more for the ingenue of the piece, Nadine. The company enters the rehearsal period led by Jean-Loup.
What no one suspects is that Lucas Steiner is living in the basement of the theater, where Marion goes on a nightly basis for guidance as to how the work progresses as well as for having normal marital relations and to tend for Lucas. The director figures a way where he will be able to follow all what goes on on stage by listening through an air vent that tells him what works and what must be changed.
A anti-Semitic critic Daxiat, suspects something is not quite what he sees as he comes, from time to time, to watch what Marion Steiner is doing with the play. Jean-Loup tries to play both ways and tries to be on Daxiat's esteem so the play can get its due. The critic, though, has other ideas, which come clashing with what Marion is trying to do. He even hints that Lucas Steiner is still in France for there is no record of his departure.
As the play begins, Bernard realizes he has feelings for Marion, something she clearly rejects. Marion does not encourage the young actor to be anything else, but her co-star. One gets the current between them as they continue to work together. Will what Bernard feels for Marion be returned? What with Lucas Steiner so close? The ending is a bit of a disappointment, and somewhat contrived.
Francois Truffaut set his story during WWII, but it actually does not touch too deeply into the conflict itself. It is more about keeping the facade in the way the play is, rather than the menace from the invaders of France. It is a film within a film, a tribute perhaps to the resiliency of those performers that carried out entertaining the people that flocked the theaters, perhaps to keep themselves warm and sane. Truffaut was working with his usual collaborator, Suzanne Schiffman. Nestor Almendros photographed the production which is seen mainly in interior shots done in a studio and special set in an abandoned chocolate factory.
Catherine Deneuve plays Marion Steiner with her usual reserve. Gerard Depardieu has some good moments with his Bernard. Andrea Ferreol's Arlette is perfect. Jean Poiret is seen as Jean-Loup, and Heinz Bennent plays Lucas Steiner.