The Mother and the Whore
The Mother and the Whore

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- 78/100 based on 6,311 votes

In Paris, Alexandre, an unemployed young man with memories of the May 1968 events in France, attempts to persuade his former love, Gilberte, to marry him. Gilberte opts to instead marry another man. Alexandre is involved with a live-in girlfriend called Marie, and is interested in films such as The Working Class Goes to Heaven. One day, after an unsuccessful reconciliation with Gilberte at the highly popular Les Deux Magots café, he meets Veronika, a Polish French twenty-som... (Full plot summary below)

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Actors in The Mother and the Whore:

Bernadette Lafont
Jean-Pierre Léaud
Françoise Lebrun
Isabelle Weingarten
Jacques Renard
Jean-Noël Picq

Full Plot Details

In Paris, Alexandre, an unemployed young man with memories of the May 1968 events in France, attempts to persuade his former love, Gilberte, to marry him. Gilberte opts to instead marry another man. Alexandre is involved with a live-in girlfriend called Marie, and is interested in films such as The Working Class Goes to Heaven. One day, after an unsuccessful reconciliation with Gilberte at the highly popular Les Deux Magots café, he meets Veronika, a Polish French twenty-something nurse. In the midst of the sexual revolution, Veronika is highly promiscuous, and begins to make advances on Alexandre. During the summer of 1972, Alexandre and Marie are nude in bed in their apartment when Veronika visits. Marie lets her in and Veronika insults both of them, but acknowledges she is not pure herself. The three begin a ménage à trois and sleep in the same bed, with Veronika assuring Alexandre she and Marie both love him, and telling him to be more happy with his situation and life. Although Marie affirms her indifference to Alexandre's affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to a growing estrangement between her and Alexandre. As the three sit together, Veronika attempts to reassure Marie about her looks and body. Tearfully, Veronika speaks about how she believes no women are truly whores, and how love is meaningless unless it produces a child.

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Movie Reviews

Slant Magazine - 10/10 by Jake ColeJean Eustache obliquely puts on trail the self-reflexive cool of the early New Wave films.
The A.V. Club - 10/10 by Nathan RabinAs in the best films of John Cassavetes, The Mother And The Whore transcends the medium of film altogether and appears to capture life as it is lived, in all its messy, painful, infinite sadness.
Chicago Reader - 10/10 by Jonathan RosenbaumIt’s a historical marker in a way that few other films are — not only the nail in the coffin of the French New Wave and one of the strongest statements about the aftermath of the failed French revolution of May 1968, but also a definitive expression of the closing in of Western culture after the end of the era generally known as the 60s.
Los Angeles Times - 10/10 by Kevin ThomasThe film is at once of its time--simultaneously the fullest flowering of the French New Wave and the shattering of its male chauvinist tendencies--and utterly timeless in its perception of love, sex and human nature.
Chicago Sun-Times - 10/10 by Richard RoeperAs a record of a kind of everyday Parisian life, the film is superb. We think of the cafes of Paris as hotbeds of fiery philosophical debate, but more often, I imagine, they are just like this: people talking, flirting, posing, drinking, smoking, telling the truth and lying, while waiting to see if real life will ever begin.
Chicago Tribune - 9/10 by Michael WilmingtonDisassembling and reassembling his blighted lovers in various moods and stances, Eustache achieves a fine perspective — detached but never dispassionate.
The Seattle Times - 9/10 by John HartlEustache's screenplay is specifically set against the backdrop of the failed student revolts of the late 1960s, and occasionally the sight of Leaud in bellbottoms makes it look like a time capsule. Yet the moods, the emotions, the debates seem profoundly contemporary.
Austin Chronicle - 9/10 by Marjorie BaumgartenThe three-and-a-half-hour-long movie revels in talk as this man ponders life, philosophy, the sexual revolution, the workers' revolution, love, death, and so on. He smokes, drinks, flirts, and talks –­ and the movie is exquisitely of its time.
Village Voice - 9/10 by Molly HaskellA major work, not because of its exhausting length (217 minutes) or the audacity, brilliance, and total originality of its language, but because of writer-editor-director Jean Eustache’s breathtaking honesty and accuracy in portraying the sexual and intellectual mores of its era.
The New Yorker - 9/10 by Richard BrodyThe trio’s breezy erotic sophistication masks an urban populism that’s as artistically fertile as it is politically risky; their domestic disasters have the feel and tone of epic clashes.

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