My Night at Maud's (Ma Nuit chez Maud) - Movie Reviews - Rotten Tomatoes

My Night at Maud's (Ma Nuit chez Maud) Reviews

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½ August 19, 2017
My Night At Maud's should be studied for how utterly compelling it made a film that takes place in different locations for extended periods of time. Great dissection of religious fanaticism and sexual conflicts.
½ February 2, 2017
A reflective look at French relationships and finding love. Very authentic.
September 14, 2016
A devout Catholic runs into his Marxist friend & spends the evening with him & with his atheist lover discussing Pascal's wager & fighting against the sexual tension in one of the best written philosophical films I've ever seen.
July 2, 2016
Great dialogue film looking at faith, chastity, temptation, and trendy French living. There's something of a colliding of worlds in the film which makes it relatable viewing for a broad audience.
½ May 8, 2016
Never been really into Eric Rohmer's work. An old style of story-telling in French Cinema: Crude production, straight-forward narrative stuck with tons of emotionless dialogue, arguments usually. His philosophical messages looked showing-off, even hardcore spoon-feeding sometimes. This, was one tedious example.
December 23, 2015
I like a philosophical element in art films, just not all the rather meaningless French chit-chat here. Not exactly on the level of My Dinner With Andre.
Robert B.
Super Reviewer
½ October 5, 2015
My Night at Maud's is a great film for those who like subtle romance
where what is not said counts more than what is said. That said, this
film is an easy one to mis-watch. There is a lot of talk about
intellectual and theological topics, and it can seem as if the film is
about that. Not so, most of the film you can get from how the
characters carry themselves and how they interact; their words are
secondary. Besides that, the talk is meant to be partly funny and
partly serious; some of the intellectual talk is relevant to the theme,
and some of it is intentionally pretentious. Indeed, the main themes of
the film are pretension and predestination. (Which is interesting since
even though the film is set back in the 1960s, French "designed"
milieu feels as if it were modern and fresh and free.) Overall, the
final product has a very nice, witty, and young feel to it. I rate this
one up on account of some good characterizations, and the fact that the
actress playing Maud is damn sexy with French charm -- well, that
factors right in.
½ August 27, 2015
Normalmente no me interesa este tipo de cine, pero esta película es realmente interesante.
January 25, 2015
Mi noche con Maud [1970]
Super Reviewer
July 24, 2014
Eric Rohmer's 3rd Moral Tale

-->Possible moral topic(s) treated: The substitution of principles dictated by moral codes with irrational impulses that contradict them.

Note: Although this gem was planned as the third moral tale, it was released after the fourth moral tale La Collectionneuse (1967) due to delay in production.

In short, My Night at Maud's is a tremendous cinema masterpiece in all imaginable aspects.

Jesus, how do I begin punching this damn keyboard?

Ok, first. Rohmer's elements! Yeah, his elements.


A) Rohmer was known at this point for utilizing a literary narrative, in which a protagonistic voiceover narration would reveal what wasn't told or shown explicitly to the viewer. In the most purist tradition of voiceover narration, such is the main and only purpose of it: to speak what resides in the mind or is sufficiently unclear. In this case, Rohmer uses such technique just once, and only in the final minutes. I'll say why later.

Another element of his is that he constructs morally ambiguous situations that compromise the integrity of his characters, and that is precisely what identifies Rohmer more clearly from the rest of the Nouvelle Vague directors. Such feat reaches a grand state of maturity with this third moral tale, which would be marginally perfected by the even more challenging and superior masterpiece Claire's Knee (1970), the magnificent fifth moral tale.

In all cases so far, such element/situation/person/event representing that challenge to the moral of the personages is a woman, and the perpetrator of the immorality is a man, whereas the vehicle is said woman, or another person of indistinct genre. That's Maud.

Another element is the resulting love triangle. In this case, however, we have two. The opposite vertices are Maud and Françoise, respectively, whereas the opposite tips of the bases are Jean-Louis and his friend Vidal, who are both related to both women. However, these triangles interact independently, as we never see the four of them together, just like this:

J-L /____\ Vidal

B) Now, Rohmer's newly developed skill to direct professional actors.

Nearing the ending of Ophüls' masterwork, Liebelei (1933), we receive a shocking revelation. Its magic comes from the magic of acting. Acting is not only the art of speaking or making gestures, but the art of reacting as well. Not too many examples abound in the annals of cinema, but from the revelation of Liebelei, to the final confession of Paris, Texas (1984) and key moments in Magnolia (1999), the camera freezes in the face of one character, uninterruptedly, to see him react to the words we are only hearing. He/she speaks, then listens and reacts, then speaks and makes gestures, in an all-embracing process of communication and feedback. THAT'S ACTING, LADIES AND GENTLEMEN! Then, it is the turn of the other personage. This is the best way I have encountered to dissect characters in cinema.

C) And boy, does this film dissects them all layer by layer, like complex onions. This film experience becomes much more meaningful if you have a doctorate at listening to people. I love listening to people. My mother speaks to me around 95-135 minutes, non-stop (no exaggeration in the time calculation), without me saying a single word. It is worth it. Giving people a chance to speak is the foundation of socialization and human empathy.

In this regard, the screenplay feels extremely realistic from a psychological point of view. You witness fully complex people revealing their principles and moral codes that drive their lives. Once that that has been established for the first hour, however, Rohmer uses the next 50 minutes to challenge those principles and preconceived notions, and shatters them to test their true strength. What had become an extraordinarily discussed collision of Pascalian principles, correctly stated laws of stakes, statistical hypotheses testing and probability calculations (which is my current University degree specialty), epistemological questionings on Catholic principles and the validity of the scientific method discussing economic principles of theoretical human rationality, suddenly becomes a complex and engaging drama!!

How in the f%/&$!!!!

Like Alice, falling down the rabbit hole, we fall every single second deeper and deeper into an unprecedented understanding of these four human souls, with their contradictions (they do contradict themselves at some points, like we all do in life sometimes), correct claims and hypotheses, feeling human emotions. Again, all of this would be perfected in Claire's Knee, when Rohmer achieves his maximum state of brilliance making even the physical landscapes to reflect the anxieties and ideas of the characters, correlating perfectly.

Seriously, I love this kind of cinema!

February 6, 2014
Um drama sofisticado que distigue amizade e sexo a fé o destino e o acaso, tudo bem catalizado com as delícias do convívio.
½ September 28, 2013
Alternately sexy, romantic, and thought-provoking in its portrayal of human impulsiveness in the face of sex and romance.
April 28, 2013
While at times this film is trite in its relationality, the conversations that are housed within it are deep and brooding and definitely require some thinking to get through.
February 17, 2013
Marvellous cinema in which the art of conversation takes centre-stage.
½ January 23, 2013
Strange, compelling drama of which a man (Jean-Louis Tritigant), who has lost faith in being a relationship with woman, runs into an old friend (Antoine Vitez). He then has dinner with him and a recently divorced Maud (Francoise Fabian). They engage in a complex conversation on life and the man spends the night Mauds and the relationship then deepens into some more (but not a quite romance though to restore his confidence in woman). Generally talky drama has some sort of memorable magic attached to it that has left me thinking of the situation afterwards for quite a while, probably because everything seems rather natural. Well-acted and very well filmed. The nicest scenes are the characters talking during dinner or right before bed time.
December 17, 2012
A little overly loquacious and self indulgent, Rohmer's challenging take on love, sex an religion is nevertheless sophisticated and classy as well as very provocative.
½ November 12, 2012
Another great film by Rohmer. This guy is shaping up to be one of my very favorite filmmakers. I'm very much enjoying blowing through his filmography.
½ November 1, 2012
Intriguing in its philosophy and sexuality, My Night with Maud is another one of Eric Rohmer's Six Moral Tales.
½ January 5, 2012
My first Rohmer. This is a scintillating treatise on religion, sex, chance, and fate that is, admittedly, mostly talk. The unnamed central character (Trintignant) spends an absorbing night with a totally disarming woman (Fabian) who might be his perfect match, alleviating his normal reserve, but she is an atheist and he wants to be a practicing Catholic (though his actions do not always conform with the faith's principles). What is most interesting here is trying to figure out how the various philosophical points mesh or do not mesh with the character's decisions -- he does seem more willing to force circumstances to conform to his will than to rely on chance and grace (as he claims). The luminescent cinematography aids and abets Rohmer's focus on naturalistic and conversational detail.
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