The Tomatometer rating – based on the published opinions of hundreds of film and
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
One of France's most respected directors, Claude Sautet was without equal in his ability to chronicle the banal complexities of French bourgeois life. In such works as Les Choses de la Vie (1969), Vincent, Paul, François, et les Autres (1974), and Un Coeur en Hiver (1992), Sautet explored the personal relationships and emotional frailties of everyday men and women with warmth and assurance, providing audiences with rare insight into the lives and loves of the French middle classes. Born in the working class Parisian suburb of Montrouge on February 24, 1924, Sautet worked as a social worker and music critic before attending the Institut des Hautes Etudes Cinématographiques in the late '40s. He toiled for a number of years as a writer, assistant director, and TV producer, penning, among other works, Georges Franju's horror classic Les Yeux Sans Visage (1959). Although Sautet made his directorial debut in 1955 with Bonjour Sourire, it was not until he wrote and directed Les Choses de la Vie (1969) that he earned international attention. An ostensibly simple story about a businessman (Michel Piccoli) who must choose between his wife and his mistress, the film introduced a number of themes that would continue to be apparent throughout Sautet's subsequent work, particularly concerns revolving around one's home, loved ones, and material possessions. Les Choses de la Vie was shown in competition at the 1970 Cannes Festival, where its enthusiastic reception announced Sautet as one of the new decade's more promising talents. He followed Les Choses in 1971 with Max et les Férrailleurs, which starred Piccoli as a former judge whose obsession with bringing criminals to justice leads him to concoct an unwieldy scheme involving a prostitute (Romy Schneider, whose starring role in Les Choses revived her career) and her criminal boyfriend. 1972's César et Rosalie was another journey into the mundane emotional dilemmas of the bourgeoisie, with Schneider portraying a married woman whose former lover comes back into her life. Sautet next addressed his favorite bourgeois themes in Vincent, Paul, François, et les Autres (1974), one of the most acclaimed films of his career. A melancholy portrait of four middle-class men who meet in the country every weekend to eat, drink, and discuss their lives, it featured strong, assured performances from a cast that included Piccoli, Yves Montand, Gérard Depardieu, and Stéphane Audran.After having further critical success with Mado (1976) and the Oscar-nominated Une Histoire Simple (1978), which featured Schneider in a César-winning performance as a dissatisfied 40-something working woman, Sautet entered something of a career lull. During the course of the 1980s he made only a few films, of which Garçon! (1983), a drama starring Yves Montand as a middle-aged waiter, and the comedy Quelques Jours Avec Moi (1988) were relatively well-received. Sautet returned to form in 1992 with Un Coeur en Hiver, his latest meditation on French middle-class bourgeois life. Starring Emmanuelle Béart as a beautiful violinist who comes between two business partners (Daniel Auteuil and André Dussollier), the film offered an intricate, subtle exploration of the inner lives of its three main characters, both recalling Sautet's works of the 1970s and proving that the director was able to give his oft-revisited central themes fresh treatment. Un Coeur en Hiver was a popular and critical success; its numerous international awards included a Best Director César and Venice Film Festival Silver Lion for Sautet.Following this triumph, Sautet continued his tradition of writing scripts for other directors, something that, earlier in his career, led François Truffaut to affectionately dub the director a "ressemeler de scenarios" (re-soler of screenplays). He provided the script for Intersection, the 1994 remake of Les Choses de la Vie. Although the film was a disappointment, it was overshadowed completely