一个女人的爱情 L'Amour d'une femme(1953)
简介：
- 年轻的医生玛丽·普里尔（Marie Prieur）来到法国偏远小镇接替年事已高的老医生,因小镇居民不信任年轻的女医生,故意整蛊她,进而认识了来此地跑工地的工程师安德烈·洛伦齐（André Lorenzi）安德烈对玛丽一见钟情展开追求,但是玛丽以事业为重，迟迟未应予,突然有一天孤身一人小镇老师去世,参加葬礼的玛丽见到未有一人落泪,担心将来自己去世的时候也会这样，所以答应了安德烈的追求,但是安德烈要求玛丽放弃工作,专心在家相夫教子,玛丽无法放弃自己喜爱的事业,两人爆发了激烈的争吵,随着时间的推进工程师安德烈在此地的工作已经完成 又要动身去别的城市,所有两人被迫分开,最终玛丽又是孤身一人 心碎的等待着爱情。
演员：
影评：
THE LOVE OF A WOMAN is French filmmaker Jean Grémillon’s swan song before his death in 1959 at the age of 58, Grémillon’s name has remained relatively unknown outside France, and his aesthetics and techniques are often coined as“enchanted realism”, an antecedent anticipates the slam-bang French New Wave.
The film takes place in the north-westernmost point of France, the Ushant island, where the new replacement of its retired village doctor is an unmarried 28-year-old woman Marie Prieur (Presle, who is still with us today at the age of 96), who has to overcome the local inhabitants’ prejudice and earn her place in the village through her professional aptitude, meanwhile, she falls in love an engineer André Lorenzi (a virile Girotti), who is assigned to a project lasting six months in the island, when marriage is propounded to her as a getaway from the harsh insularity she inhabits and dreads, the option is clear, to become a full-time housewife or remain as a singleton country doctor.
The sticking point here now seems obsolete but what amazes viewers is Grémillon’s skill of story-telling, emotions are trenchantly condensed through the cast’s uncontrived acting, initially dispirited by Andre’s blinkered proposal, Marie takes an about-face when she witnesses the comeuppance of Germaine Leblanc (a solicitous Gaby Morlay), the school teacher who devotes all her life to her students, only succumbs to an abrupt death right after her retirement, yet, not a single tear is shedded in her funeral, it is this noxious apathy that brings forth Marie’s disenchantment, and she wants out, even a wedlock diminishes her worth. Only if André could accept that, he is machismo and narrow-minded, but not air-headed, once he realizes her competence and the fact that she revels in her competence, he is sober enough to pull the plug before making a commitment he cannot abide by, a cruel maneuver but not entirely irrational, which in itself reflects Grémillon’s lucid conception of what a grown-up love affair should look like.
The film’s provincial locale is captured with astonishing pulchritude under the rein of Grémillon and DP Louis Page, a studio-bound sequence of a life-boat buffeted by a tempestuous storm shows up Grémillon’s eclectic approach which isn’t circumscribed by a Sisyphean obsession of realism, whereas a veri-similar surgical operation passage ensures that Marie has an able hand and is a true asset to the community. Propelled by leading actressMicheline Presle’s top-notch embodiment of our heroine, THE LOVE OF A WOMAN should belatedly put Grémillon’s name on the international map alongside his more fêted peers, a maestro unfortunately stuck in the limbo of oblivion for too long.
referential points: Michelangelo Antonioni’s STORY OF A LOVE AFFAIR (1950, 6.0/10); Henri-Georges Clouzot’s LE CORBEAU (1943, 7.1/10).
