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L'Amour fou

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- 74/100 based on 729 votes

During the rehearsals for the production of the tragedy Andromaque, the leading actress and her director, a couple behind the scenes, can't find a way to leave their personal problems at home. And life imitates fiction, creating a real tragedy for this couple when the man finds comfort with other women while the actress prefers to stay focused on her work, as if nothing is happening with her partner.... (Full plot summary below)

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Actors in L'Amour fou:

Bulle Ogier
Jean-Pierre Kalfon
Josée Destoop
Celia
André S. Labarthe
Dennis Berry

Full Plot Details

During the rehearsals for the production of the tragedy Andromaque, the leading actress and her director, a couple behind the scenes, can't find a way to leave their personal problems at home. And life imitates fiction, creating a real tragedy for this couple when the man finds comfort with other women while the actress prefers to stay focused on her work, as if nothing is happening with her partner.

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Movie Reviews

MovieMartyr.com - 10/10 by Jeremy HeilmanOne of the best French films that I've seen.
San Diego Gay & Lesbian News - 9/10 by Jean LowerisonYou'd think a biopic with this title would have some passion, craziness or at least spark. But L'Amour Fou is surprisingly tepid about everything, to the point of being a little boring.
n+1 - 9/10 by A.S. Hamrah...the film in which Rivette's previously murky aspirations as a filmmaker coalesced, revealing his true direction.
Blogcritics.org - 6/10 by Alan DaleThe irony is subtle ... but irresistible for anyone interested in narrative paradox. L'Amour fou is one of the few movies, and one of the best, to deal directly with a literary subject.
User Review - 10/10 by Abby RRivette has worked the concept of actors performing a work and the effect it has on their lives in many of his films (Va Savior, Gang of Four) but here it is done to perfection. The performances by Bulle Ogier and Jean Pierre Kalfon are the finest of their careers. A masterpiece.
User Review - 10/10 by Taylor BSat through a screening where they had to take 10 minutes between each 15 minute reel to switch, since they only had 1 projector. Never left the theatre once, the movie kept me glued. What does that say? Brilliant, beautiful, heartbreaking and all too engaging.
User Review - 10/10 by Justin BIf L'Amour Fou is one of the greatest of all the French New Wave films, it is also one of the least known. Perhaps this is due to its intimidatingly long run time (like all of Rivette's films), and perhaps it is because Rivette is arguably the least "fun" of the New Wave directors; he offers none of Godard's Marxist-meets-Brecht humor, none of Truffaut's nearly infinite energy, none of Melville's trendy, re-conceptualized hipness, none of Resnais's enveloping mind games. Instead, he is the most literary of his group (even more so than the quite wordy Rohmer), yet paradoxically, also perhaps the most cinematic. Rivette, an unabashed intellectual, sets himself apart from his colleagues with his eerily cinema-verite style, often with as much of his footage being actual documentary as fiction, and often with the same "actors" in both modes, and a disturbing blurring of the boundary between the two (consider the infamously excised footage from Out 1 wherein Leaud apparently approximated a nervous breakdown a little TOO well); perhaps a close analogy to his style could be found in American filmmaker John Cassavetes, albeit without the rampant misogyny and forced machismo. L'Amour Fou's subject is the theater (Rivette's favorite and most personal topic), specifically a troupe rehearsing a production of Racine's tragedy Andromaque. (Due to the cross-textual references and allusions, it's usually a good idea for the potential viewer to read Rivette's source texts before seeing his films, and this is no exception). A documentary crew is on hand to record the results of the rehearsals; unfortunately, the director's wife, Claire, who is meant to act in the production, finds the presence of these interlopers quite unbearable and quits, leaving her husband Sebastien to finish work on the show himself. Alone much of the time in their apartment, Claire descends into a very frightening and believable bout of madness, brought on by boredom and jealousy; Sebastien, for his part, becomes increasingly estranged from his wife and begins a series of bored affairs with the other actresses. Predictably enough, things become very unpleasant very quickly. Rivette's technique here is notable, forcing us to focus on the horrific psychological warfare between husband and wife: most of the footage of the rehearsals (at least that not filmed by the "documentary crew") is done in long shot, thus distancing us as viewers from the proceedings which seem increasingly like some abstract and pointless ritual as the film moves on. Later in the film, various percussion is added to the stage, and much of the dialogue is buried behind random and startling bursts of noise, thus further alienating us from the action on-screen. On the other hand, the scenes detailing the dysfunctional relationship between Sebastien and Claire are nearly unwatchable due to their emotional intensity. One example should suffice: in bed one night, Claire suddenly awakens, stands over Sebastien, and begins to all but interrogate him about his assumed infidelities. She demands that they discuss their marriage; she is contemplating a divorce. She begins to shake him repeatedly, practically screaming at him to respond. Thus far the viewer's sympathies lie entirely with Sebastien, however bizarre his silence throughout might seem, but then he does something which causes us to react with horror: he slaps her. Hard. She all but collapses onto the floor, and as he contentedly returns to sleep, we have to watch as she slowly composes herself and returns to bed, right next to him, a procedure which lasts over a minute. And indeed, throughout the film the procession of cruelty with counter-cruelty is seemingly never-ending. Of course, more is at stake than a mere marriage: Rivette has a bone to pick with every self-righteous, solipsistic "artist" who's ever made his loved ones suffer for his "genius." Sebastien, though we initially side with him, is slowly revealed to be a charlatan with few valuable ideas. He is a veritable hypocrite, demanding that his fellow thespians give their all for their work and that his wife forfeit her happiness for him while at the same time being unable himself to hold either relationship together. While remaining an individual, Sebastien also comes to stand in for a kind of ignorant, smug patriarchal monoculture; consider, for instance, the slight cultural condescension implicit in his world music/percussion aspirations, and the way he uses his drums to intimidate his wife; consider also his own casting of his two black actresses as the titular character and her servant, and the grim implications present in his portrayal of Pyrrhus when we note the parallels between Hermione and Claire, Pyrrhus and Sebastien, and Andromaque and the theater itself. In brief, Sebastien is both exploiter and phony, the faux petty imperialist whose attempted dominance brings himself grief and his friends madness. Ultimately, his pretentions towards art are seen as senseless and destructive, and not at all worth the human cost; some of the more artistic viewers might be offended by such a conclusion, but as for myself, I was just thrilled to finally see a film that presents the pettiness of the artistic process honestly. Both this film and Rivette's later, similar Out 1 are undeniably great works, worthy of a larger audience. However, whereas Out 1 is more of a shambolic, cluttered, intermittently brilliant if all-inclusive epic a la Les Miserables, L'Amour Fou is Rivette's precise, exact, and vicious realist/psychological masterpiece; in many ways, it's his Madame Bovary. See them both, if you can, but definitely, definitely see L'Amour Fou.
User Review - 8/10 by Zachary SI don't really feel like saying anything about the film other than I watched all 252 minutes.

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