Let's rant...

Donnell 2022-03-23 09:03:04

This film fails to capture the core point, maybe I still prefer more dramatic films. The director's editing is very enchanting, sometimes jumping violently in the bridge segment, and sometimes dividing the scene with a long visual pause to fade the scene, at least in the movie theater, the brain capacity can't keep up with the inner thoughts of this kind of intention. The film has a strong atmosphere of suspense, and I can't see it has anything to do with the plot. Maybe in order to exaggerate the white horror atmosphere of that era, I once thought that the male protagonist was a Gestapo or something. The strong suspicion even caused me to miss the recorder. A very subtle hint that the male protagonist used the theater radio to engage in bombing activities against the Germans. Many comments on the Internet are about the relationship between the big era and the individual, although I can't see any relationship after watching the movie, and I feel that neither the title nor the theme has been dug deep enough - it may be the heroic death of the war. Watched too many movies. Living in a troubled world and struggling to make a living is a very good interpretation, especially through the characters one by one—the characters in the film are very full (in addition, when watching this film, I expressed a strong sense of laughter from the classmates in the same theater) Contempt, as expected, I can't accept the idiocy contagion of joy that everyone laughs and laughs at) - the resistance to an era shown by a single character. Whether it is a pro-German ugly face or a cute girl busy on various studios, they are the epitome of the struggle for survival. As for the love triangle, I don't see any meaning at all, maybe it's Truffaut's own bad taste?

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Extended Reading
  • Trevor 2022-03-24 09:03:20

    Let the European masters do more business!

  • Leopold 2022-03-25 09:01:19

    Life is like a drama, drama is like life

The Last Metro quotes

  • Daxiat: This may sound strange coming from me, but I think your husband, Lucas Steiner, was wrong to leave France. The new anti-Israelite theater laws apply to spectators and profiteers. But your husband, Mme. Steiner, was a gem. He was the only Israelite theater director...

    Marion Steiner: You may say 'Jewish'.

    Daxiat: Yes. He was the only one to be a leader, stage director and an artist. You see, the Germans are deeply attached to culture. They don't want talented artists to leave France.

  • Raymond Boursier: [Yelling at Nadine as she gets out of a Nazi jeep] Not only are you late, you showed up with the Jerries. Jean-Loup will be pissed.

    Nadine Marsac: What do you want? I was at a dubbing session. We worked late. They offered me a ride.

    Raymond Boursier: Nothing stops you, If they had offered you a part in 'Jew Süss' you'd have taken it.

    Nadine Marsac: And how! But they didn't have a role for a French girl.