Goodbye Philippine
| Movie | |
|---|---|
| German title | Goodbye Philippine |
| Original title | Goodbye Philippine |
| Country of production | France |
| original language | French |
| Publishing year | 1962 |
| length | 111 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Jacques Rozier |
| script | Jacques Rozier Michèle O'Glor |
| production | Georges de Beauregard |
| music |
Jacques Denjean Paul Mattei Maxim Saury |
| camera | René Mathelin |
| cut |
Monique Bonnot Marc Pavaux |
| occupation | |
| |
Adieu Philippine is a 1960 French feature film by Jacques Rozier and is considered an important work of the Nouvelle Vague .
action
Paris , summer 1960. Recordings are made in a television studio with the jazz musician Maxim Saury . A few passers-by, mostly girls, are standing in front of the glass door to the studio. The two friends Juliette and Liliane are particularly excited and delighted when the cable carrier and budding cameraman Michel tries to impress the two pretty ones by letting them into the studio. They become friends, and after the recordings all three go to a nearby bistro . Michel tries to be more than he is. Initially, he pretends to be the director of the show, but neither the blonde Liliane, a saleswoman in a department store, nor the brunette Juliette, a language student by trade, falls for his prepotent showing off. Any attempt by Michel to squeeze himself between the girls who are stuck together seems doomed to failure from the start, so that he cannot flirt with either of them alone. Michel is not planning much more anyway, because he is waiting to be drafted into the military to serve in the Algerian war .
Liliane and Juliette are just an uncomplicated pastime for him, just like the car that he and three friends recently bought with his last money. Little does Michel know that the two girls fell in love with him in a very short time. Liliane and Juliette have made an agreement: each of them should meet with him alone. However, Michel cannot be sure that nothing about his dates will leak out because the two lovebirds simply tell each other everything. Meanwhile, Liliane and Juliette do a lot to help Michel out of his financial malaise: they introduce Michel to the advertising film producer Pachala so that he can find jobs for his friend, but the man whose company is on the verge of collapse turns out to be a greyhound and cheaters. Soon Pachala ran away and Michel didn't get a sou. Another idea of the two girls to help Michel financially turns out to be a flop when jealousy suddenly intervenes. Finally, the two lovers come up with the “Philippine” game that the girls think of in bed in the evening: Whoever shouts “Philippine” first the next morning should have the right of way (and thus the better chances) at the next rendezvous with Michel. Meanwhile, the young man is also unlucky at work: on a live broadcast, he trips over a cable and almost messes up the recordings. Since he's tired of the job anyway, he doesn't even apologize and provokes his expulsion.
Before he goes to war in North Africa, Michel wants to have some real fun and decides to leave for Corsica . Juliette and Liliane have good reason to follow him there, as they found out that the crook Pachala is also there. All three cling to his heels, but before they can get their money from him, he went underground again. Michel does not see the threatening thunderclouds in the relationship sky, because he feels like the cock in the basket with the two girls adoring him. Before a decision can be reached on this matter, he is convened in the capital, Ajaccio . Michel has to hurry if he wants to reach the ship leaving for Marseille. In the night he rushes to the port of Calvi . In the car: the two girls. The mood is gloomy, all the cheerfulness of the past weeks has evaporated. Nobody knows what else to say, and the meaning of their feelings, the flirtation, the love - everything now seems completely without meaning. But the realization of the three protagonists goes deeper at this moment: It is not just a farewell to Michel, a possible final separation in the room, but a farewell to love, the possibilities that life offers you, that youth leaves you. “Adieu Juliette et Liliane” has become Adieu Philippine.
Production notes
Adieu Philippine , Rozier's feature film debut, premiered on January 8, 1962. In April of the same year the strip was shown at the 15th Cannes Film Festival . The German premiere took place on April 24, 1963.
Reviews
International critics were extremely enthusiastic about Rozier's production. Here are four examples:
“The film seems very promising to us because here in form and especially in subject matter, a young director ... has left the well-trodden paths of the New Wave. (…) Such a modern piece of film work as in the long walk the two friends took on the Boulevard des Italiens… we haven't seen since “ A bout de souffle ”. "
“What is particularly convincing about this film is the unsurpassable authenticity of both the psychology of the characters and the milieu in which they move. The freshness and spontaneity with which the story is told is in the best tradition of young French cinema. "
"Rozier has created a rousing work, a film in the best modern style, cheeky, at the same time unpretentious, with an unparalleled realistic temperament"
“Rozier's first long film is a critical, but sympathetic portrayal of the consciousness of young apolitical people in the late 1950s in the Fifth Republic. The film is a prime example of France's Nouvelle Vague because of its undisguised, spontaneous style ”
Individual evidence
Web links
- Adieu Philippine in the Internet Movie Database (English)