Reviews (15)

Understatement at its best
A gentle movie that explores a complex relationship. Understatement at its best.

Nelly, played by the beautiful Emmanuelle Beart, is at crossroads of her life -- disillusioned with marital problems and aimless about future. She meets Arnaud, played by Michel Serrault, -- a gentleman, retired judge and businessman, wife separated -- at a cafe through a common friend. He helps her to overcome her debts and she in turn helps him to type his memoirs. Thus their interaction begins. Arnaud is infatuated by her beauty and personality (who wouldn't be?), but he is helpless in expressing that for the fact that he is of more than double-the-age of Nelly. She too is in love with the sophisticated, mature Arnaud but for the same reason as his, she is unable to accept it. She finds that her heart longs for Arnaud when she automatically rejects a live-in relationship proposed by a publisher-friend with whom she was dating and was happy.

They try to be and feel that they are happy together, all the time knowing that a complete and defined relationship is impossible. Both of them are tormented by their love for each other. Is it love in the romantic sense? May not be. There is an emotional vacuum in both their lives. And they fill each other very well. She needs someone mature enough to steady her drifting, aimless life and he needs someone to illuminate his dull, boring life. It is not lust. It is not romance. It is not friendship. It is not concern. It is not finding solace. Or is it lust? Is it romance? Is it friendship? Is it concern? Is it finding solace? Frankly, I am at loss trying to comprehend the nature, complexity, depth and layers of their relationship.

They know how much each one meant for the other at the time of their parting, when Arnaud's ex-wife takes him for a global tour. Arnaud, collected and withdrawn till then, embraces her passionately. Nelly, composed and passive till then, is shaken and devastated. They know it is coming to an end. The film ends with Arnaud thinking of her and Nelly trying to cope up with her daily life. I hate the ending as much as I love it. Perhaps, it was the appropriate ending. Not all relationships in life are complete; some end abruptly, some never ends.

Beart and Serrault are magnificent. I am amazed by her ability to bring about a variety of emotions with subtle facial expressions and effortless motion.

Intelectually rewarding, but emotionally underwhelming
Claude Sautet Nelly and Mr.Arnaud is a sumptous film to look at. Every frame in this film has bright and varied colors that look like pictures from an interior decorating magazine. It is at its most complling in its early scenes between Nelly and Mr.Arnaud, he is somewhat overbearing in his need to start conversation, or perhaps confess to past short comings. Yet he never beats around the bush so to speak because as one character in the film observes abot him "He has lived two lives." Emmanuelle Beart who is wonderful in this movie(and wonderful to look at) is quiet, observant and in an offhand way suggest a deep intelligence behind these eyes. She constantly handles herself in an relaxed manner, and only in the end when she learns of Mr.Arnauds leaving that she is slighly shaken. She like Mr.Arnaud has been through enough of life to have an understated reaction to what goes on around her. The film is best enjoyed on a quiet lonely afternoon where you can savour its decor and the almost to subtle character revelations. The trouble is that its almost too understated emotionally, the only music on the score that I recall is in the final minute. The characters are too seasoned for us to enjoy their self discovery. Perhaps the American equivelant of this film would be Martin Brest's Scent of A Woman, both feature the regretfull confessions of an older man to a seemingly distracted youthful companion. And although this film is more subtle, I was dying for the emotional release, the operatic splendor of that film. Nelly and Mr.Arnaud is intellectually satisfying but emotionally underwhelming. I'll have Pacino's wonderfull hysterics over it anyday of the week.

Subtitles Cut off on Widescreen TV?
Can anyone confirm that the 2nd line of subtitles are cut off the bottom of the screen when played on a widescreen tv? I began watching the film on my Sony 46" Widescreen and anytime a 2nd line of subtitles appeared on the screen I could only see the top of the words barely. I tried on another DVD player and it was the same. I tried all settings, (Full, Zoom, Wide-zoom, Normal) and all 4 cut the subtitles off. I ended up watching it on my 4X3 Sony 36" TV and I could read the subtitles. Anyway, good movie, just wish I could watch it on my Widescreen.

A Moment Missed
Like the graceful lines of the female form, there is an elegance to Claude Sautet's "Nelly and Monsieur Arnaud." Emmanuelle Beart's delicate beauty and an exceptional performance from Michel Serrault highlight this subtle film of unrequited love.

Beart's exquisite countenance as Nelly, who separates from her affable but lazy husband and begins working with former judge and businessman Monsieur Arnaud, complements perfectly the atmosphere Sautet creates for this look at what might have been. As Nelly helps the older and dignified Arnaud (Michel Serrault) with his memoirs, stolen glances and hesitations are the nuance framing their budding romance, deeply rooted but never allowed to bloom.

This is a stately film of moments missed and feelings unspoken. When do you take the chance? When do you tell someone you love them? How do you know when an infatuation has turned into real love? And is there a moment when it is too late to speak? This intellectually engaging and ultimately moving film deals with these questions. Perhaps the most telling moment comes when Arnaud sits watching the radiant and sleeping Beart. The deep love inside him reaches out for her but never touches her, his hand pulling back with his heart, afraid to try.

Though this film garnered the French Ceaser for direction and Serrault's performance, not lost is the elegance and grace of stunning beauty Emmanuelle Beart. There is a suppressed emotional longing to her performance. Like many foreign films, "Nelly and Monsieur Arnaud" has more of an overall emotional impact as a whole, rather than specific moments. This is definitely a film worth seeing, and owning.

Longing for Ageless Love
This is the film that I watch when I am in a decidedly Parisian mood. The lightning fast dialogue, the eloquent gestures and the few glimpses of the city conjure up that wonderful Parisian essence. The outdoor scenes are pre-wintry gray whereas the indoor scenes are softly luminous. These descriptions can also be attributed to the distinguished, older Monsieur Arnaud (a delightfully cynical but witty Michel Serrault) and the beautiful young Nelly (Emmanuelle Beart's loveliness saves her from mediocre acting abilities).

Nelly is a woman in her twenties struggling to make ends meet after being laid off from her publishing job. The fact that her husband (Charles Berling of Ridicule) is also out of work and completely demotivated allows her to entertain an offer that she would not normally accept - a substantial loan from a virtual stranger, Monsieur Arnaud. She meets Monsieur Arnaud through her elegant, older friend, Jacqueline who confides that she once had an affair with this judge turned successful businessman. Jacqueline was attracted by his ability to really listen to a woman and offer true friendship. Nelly ends up accepting Pierre Arnaud's offer to type up his memoirs, and the two develop a unique relationship as they match wits in editing his manuscript. He's alternately gruff yet admiring while she's coyly feigning nonchalance. An undeniable chemistry exists but is never physically expressed.

Monsieur Arnaud's publisher, the young, dark, somewhat smarmy Vincent is immediately attracted to Nelly. She's reluctantly drawn to him after spending an enjoyable evening with Monsieur Arnaud in one of Paris' most exclusive restaurants. Why she gets treated to this extravagant evening is a fun story in and of itself. After a dinner of remarkable fare, exceptional dessert wine (Chateau d'Yquem, 1961!) and flirtatious conversation, the desire to end the evening in intimacy results in Nelly seeking out Vincent. While Pierre Arnaud provides her with stimulating and heartfelt companionship, Vincent merely provides her with a physical outlet. Although Vincent wants more from Nelly, in her eyes, he cannot take Pierre's place.

The subplots also support the major theme of love and age. A sweetly sad movie that will satisfy those in the mood for good (French) dialogue and a twist on the May-December relationship. ... Read more

Amazon.com

In American romantic comedies, after overcoming some silly obstacle, the heroine will choose this guy or that one, and it's usually pretty obvious which.In French romantic comedies, not only is either guy just as likely, but theheroine could just as well end up with both of them--or neither. Ah, the worldlyFrench! César and Rosalie are a happy May-December couple (young Romy Schneiderand middle-aged Yves Montand) until the return of Rosalie's old flame David(Sami Frey). David immediately inflames the insecure César with jealousy, to thepoint that his aggressive behavior threatens his relationship with Rosalie farmore than David himself does. The story of César & Rosalie takesunpredictable turns, but every shift is compelling because of how truthfullywritten and acted the characters are. The French don't need to invent sillyobstacles to romance; they understand that human nature itself is obstacleenough. --Bret Fetzer ... Read more

Reviews (2)

A Mature, Beautifully Observed Love Triangle
Claude Sautet is one of the lesser known French directors in the United States, but he made a number of wonderful dramas about romantic relationships that are hard to find on DVD (two of his last films found an audience in the U.S.--Un Coeur en Hiver and Nelly and Monsieur Arnaud). Cesar and Rosalie is one of his best with memorable performances by Yves Montand, Sami Frey, and the extraordinary Romy Schneider. The love triangle in this film is unpredicatable and touching. Another Sautet film that should be released is Vincent Francois Paul and the Others, which is a melancholy ode to love and friendship.

1st review for this movie. Wow.
That's indicative, I guess, of the overwhelming popularity of Claude Sautet's *Cesar and Rosalie*. No matter -- it's still one of the most plausible "love-triangle" movies ever made. There are many reasons for this, starting with Sautet's refusal to be just another New Wave-wannabe. A good plan, considering that by 1972 the movement had run its natural course, anyway. There are no jump-cuts here; no socio-political commentary; no stylistic flourishes. Although *Cesar and Rosalie* ranks as an "auteur" film, technically speaking (i.e., by its virtue of being written and directed by one man), the director makes a big point of not investing it with "personality" or trademark tics which we can point to. With this film, Sautet announced his ongoing obsession with the unsatisfied bourgeoisie, an obsession that typically manifested itself in the form of a May-December romance. This movie is no different: here we have Yves Montand as a middle-aged wealthy dealer in car parts, and the lovely Romy Schneider as his live-in partner. Schneider's Rosalie is a free spirit in the Sixties vein, but she's no ingenue: she's been around the block a time or two. Around 30, she has a young daughter from a previous marriage, and is confident enough to be of some considerable help to Montand's Cesar with his auto business. She's wise enough to not put up with Cesar's fussy nonsense. Enter David (well-played by Sami Frey), an old flame -- though NOT the father of her kid -- who is determined to win her back. With this fairly predictable set-up, Sautet proceeds to frustrate our expectations and surprise us at almost every turn, making for an engrossing viewing experience. All three of the principles are excellent. Schneider was always at her best in Sautet's films. . . . Yves Montand delivers what may be the performance of his life in the role of manic, joyful, and dangerously belligerent Cesar. . . . Sami Frey as the Other Man is of course the opposite of Cesar: thoughtful, younger, rather ineffectual, and just plain quiet. The movie doesn't take sides, either. Each man's faults and virtues -- to say nothing of Rosalie's faults and virtues -- are meticulously laid-out in an egalitarian display. ... Read more