A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Marlène Jobert. Show all posts
Showing posts with label Marlène Jobert. Show all posts

Tuesday, August 5, 2025

We Won't Grow Old Together (Maurice Pialat, 1972)

Marlène Jobert and Jean Yanne in We Won't Grow Old Together

Cast: Marlène Jobert, Jean Yanne, Christine Fabréga, Patricia Pierangeli, Jacques Galland, Maurice Risch, Harry-Max, Muse Dalbray, Macha Méril. Screenplay: Maurice Pialat. Cinematography: Luciano Tovoli. Film editing: Bernard Dubois, Arlette Langmann. 

Now that all relationships between (and among) consenting adults can no longer be called "perverse," it's hard to find a word for that of Catherine (Marlène Jobert) and Jean (Jean Yanne) in Maurice Pialat's We Won't Grow Old Together. "Dysfunctional" comes to mind, although it has apparently been functioning for six years before we encounter them. "Sadomasochistic" is a little too clinical and reductive for their on-again, off-again pairing. Separately, it's easier to categorize Jean as a jerk and Catherine as a doormat, except that there's something larger and deeper about both of them. In the astonishing scene in which Catherine sits blank-faced while Jean spews out a torrent of abuse, denouncing everything about her from her looks to her family to aimlessness in life, we project our own emotions about what it would be like to undergo such a barrage of insults, only to realize that her blankness, her lack of affect, her failure to fight back, is a way of asserting her control over him. When we meet Jean's beautiful, competent, and independent wife, Françoise (Macha Méril), we realize that his urge to dominate and abuse Catherine stems from a sense of his own inadequacy. We Won't Grow Old Together, a title that admits failure from the outset, is a complex psychological portrait, perhaps too complex for the medium of film, which makes it at once fascinating and abhorrent.