Classics:
Baisers volés
Day for Night

Hitchcockian:
Vivement dimanche! (despite Fanny Ardant)
The Bride Wore Black

Wistful:
L’Argent de poche
L’Enfant sauvage

Wistful and Historical:
The Last Metro (Deneuve and Dépardieu!)

::sits back and waits for Hec to chime in::

DESPITE Fanny Ardant? Despite? You don't like Fanny Ardant?!

I adore Vivement Dimanche! for the Hitchcock homage and the awesome b/w photography (and Fanny Ardant.) It might be my favourite Truffaut, but I've only seen a few -- and I mostly wanted to smack his protagonists, so I may not be much of a Truffaut fan.

(L'Histoire d'Adele H -- most depressing film EVER.)

What about that film with the mother/son incest... wait, I think that's Louis Malle. I always mix these two up.

Yeah, Adele H is depressing, but so goooood.

I hate Fanny Ardant.

L'Histoire d'Adele H -- most depressing film EVER.

True, although Isabelle Adjani looking radiant is never a bad thing.

What about that film with the mother/son incest... wait, I think that's Louis Malle. I always mix these two up.

Malle. Murmur of the Heart.

ETA: The way she talks. Her lips. Everything.

Fanny Ardant was in Paris Je T'aime with Bob Hoskins--they were quite good together.

More Fanny Ardant for me! (Actually, I don't think I've seen too many of her movies -- Vivement Dimanche!, Sabrina, Elizabeth, and Ridicule, and that's about it. But I thought she was lovely and charming in all of them.)

Adele H. is beautifully made but made me want to slit my wrists at the end. Gah.

Malle's an interesting director. I loved his last film -- a no-costume adaptation of Uncle Vanya. I think I've seen that, Au Revoir Les Enfants, Murmur of the Heart, Damage, and Pretty Baby. I should track down some of his earlier films.

Thanks, Megan!

I've seen L'Histoire d'Adele H, too, now that y'all mention it. And Murmur of the Heart, which I liked pretty well despite the horror, the horror at the heart of the story.

I mostly wanted to smack his protagonists, so I may not be much of a Truffaut fan

That's a problem for me, too.

Malle's an interesting director.

I think so, too, although I haven't liked some of his films.

My current position on Harvard Man is "I'd do anything for love, but I won't do that," but I posted this to keep me honest. Although, even with my current...over-appreciative opinion of things Grenier, I still have to wonder why Toback picked him to be *anywhere* on a football scholarship...even the Entourage guys mock him for his inability to catch anything but a cold or an earworm, so even allowing for him playing a quarterback in the Saracen mold,that seems like what people in the industry call "miscasting"(I've read enough reviews to vow never to see this thing, ever.)

I can't believe someone who worships Renoir as you do would not appreciate at least some Truffaut.

The River is one of my favorites. Also, Le Crime de Monsieur Lange. Stuff happens in both of those movies.

The thing about Antonioniononoinonoino is preceisely what Hayden says: "the story you think you're going to get is happening elsewhere." As much as I am willing to let a Hitchcockian (or even Shakespearean) level of stuff happen off-screen, I'd still like to see some of the story! And I need the premise to fit the execution. As P-C says, it's about a guy who took photos of a murder! How can that end up being a long, drawn-out, overblown story that goes nowhere?

For example, Days of Heaven is mostly known for being ridiculously magic-hour gorgeous, and the plot meanders, but since it's a story about migrant workers, the meandering and tone makes total sense. If Malick used the same style in "Badlands", can you imagine?? But he didn't, because the content and story of each film is markedly different and is treated thusly.