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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December 27, 2011
A beautiful exercise in dialogue; the conversations play out like music.

Characteristic of Rohmer, this film is about tension--sexual, moral, or even both--and that tension is established well, not only between the film's characters, but also tension against your own moral codes. This film aims to make you think, and that it achieves.
December 25, 2011
Always a pleasure to chew on Rohmer's dialogue. The characters are so well described. Another triumph of moral discussion and study of human nature.
½ December 21, 2011
Excellent character study with a strong screenplay
December 20, 2011
I think that this may be my favourite Rohmer film so far, the story of Jean-Louis' moral struggle as he falls in love with FranÁoise and spends an unexpected night with Maud.
Super Reviewer
November 2, 2011
There are nights and conversations we remember more than whole years. To Jean-Louis, finding a woman like Maud, by pure chance, was a miracle. The miracle of coming clean, stripping his soul, putting aside morals that were detouring him from finding not a perfect match to marry, but another real, flawed human being to start a romance for as long as it takes. The night he spend with Maud, made him gain enough courage to approach the girl he desired. Maybe he could have had something with Maud, if circumstances would allowed him, because passion, admiration and understanding, they had already found all that in each other.
Super Reviewer
October 25, 2011
My first Eric Rohmer film. The Cinematheque at the Cleveland Institute of Art showed a film print of this from Europe. The movie takes its time showing the simple life led by Jean-Louis (Trintignant) in 60's France. He browses for books at a bookshop. He drives around the narrow streets in his compact car. He attends mass where he first sees Francoise (Barrault). He tries to invent ways to casually run into her. Is he just looking for a one night stand, or from this "love-at-first-sight" thing do we believe that he really wants a more long term relationship? His motivations early on are mysterious. Jean-Louis is interrupted from his norm by a chance meeting with an old college buddy, Vidal (Vitez). Vidal knows this recently divorced woman, Maud (Fabian), who he is having dinner with that evening (just as friends) and he invites Jean-Louis along. Maud is a modern woman. She is divorced at a time when that was still not common. She has a daughter, does not consider herself religious and flirts shamelessly with Jean-Louis. The three adults talk on and on about philosophy, religion and relationships. It goes on a bit too long, but for the most part it kept me interested. Jean-Louis admits only a little personal information. Like Maud he doesn't really believe in all the dogmas of the church, but he cannot bring himself to give up his Catholicism all together. He also reveals that he prefers blondes (Francoise) to brunettes (Maud) and though he is talked into staying the night he tries to remain a gentleman. It is difficult for him. He sees both Francoise and Maud again. He gets more serious with one and we are treated to a surprise coincidence between the women at the end. The performances are natural in many cases as if the audience is a fly on the wall.
March 24, 2011
Think twice before popping this can of tuna. In "Night Moves" (1975) Gene Hackman says "Rohmer's films are like watching paint dry." You may well agree.

Here's the 100% spoiler lowdown:

Trintignant goes to Mass. Trintignant runs into long-lost friend. Trintignant takes friend to Christmas Eve Mass. Trintignant and friend dine in apartment of gorgeous brunette divorcee Maud (Fabian), who happens to be the friend's major booty call. Dinner talk is a lengthy, snobby, impenetrable, utterly pretentious French bourgeois discussion about religious philosophy, dwelling on Pascal. (Brush-up in advance.) Trintignant drolls on about his own moral, religious nature, explaining it still allows him to skirt-chase.

Now, at minute 44, things barely get interesting. Maud slips into a t-shirt (cheeks-out), climbs into her bed that conveniently faces right next to her living-room chairs, starts rolling around in her sheets, then drops words like "exhibitionism" and "seduction" into conversation. Friend, recognizing he's being dealt-out of the bedding, skips. While Maud's sprawled across the bed leering ''open for business," Trintignant monologues yet ANOTHER 20 minutes about his beliefs regarding religion and true love. Maud begs him throughout, in various provocative ways, to just STFU and take her.

He never does man-up to the noble cause. Accordingly, she calls him "child" and "idiot" for it right into his face. These are the most honest lines of dialogue in the film.

Next morning, he makes a wishy-washy move on Maud, but Maud, far too pro, doesn't do wishy-washies.

Now it's minute 75.

Trintignant and Maud talk it up all that day. Trintignant picks up a co-ed blonde parishioner on the street. They marry. Five years later, Trintignant discovers his blonde wife was once Maud's lover, whom Maud dumped cold.


The director labeled this film a "moral tale." I guess the moral is "Don't run with women outside of church because they're too fast for you."

Excellent B&W Criterion restoration. Droll extras include even more pretentious French talking heads, talking about--guess what--Pascal.

Super Reviewer
March 19, 2011
for two hours of philosophical discussions between people trying not to admit they want to have sex with each other this was pretty damn good
September 4, 2010
93% on Rotten Tomatoes... I will never trust them again!!
August 8, 2010
Philosophy, religion, politics, Jean-Louis Trintignant and a choice between two captivating women (the equally wonderful Francoise Fabian and Marie-Christine Barrault) - this may well be the Frenchest film I‚??ve ever seen. Nothing happens, it‚??s nearly all talk, and yet somehow it‚??s remarkably cinematic and fairly aches with the fleeting hope of happiness. Brilliant - if you haven‚??t seen it, don‚??t wait as long as I did.
July 25, 2010
Frequently considered Eric Rohmer masterpiece, My Night at Maud's is the third of six Moral Tales also including Chloe In The Afternoon, Claire Knee's and La Collectionneuse. The plot is very simple, catholic man meets atheist woman and they start talking about religion and moral values. What could be a very boring and pointless discussion about god's existance, became a complex and intriguing movie that never tends to the simplism of defending one ideal (religion oe atheism). The movie charms lies on the dialogs provocative but elegant and smart.

Altough the movie is very good, it lacks what is necessary to become a masterpiece, with a better cinematography or better performances.

Note: If you see somewhere that this is a comedy, don't expect a lot of laughs.

Final Rating: 8.7
½ July 25, 2010
The shock, 40 years on from "Maud"'s debut, comes from encountering a film this frontloaded with lengthy, unexpurgated sleepover conversation. The picture is primed with talk, much as Michael Bay's movies are primed with explosions - and, like Bay's movies, "Maud" might be an equal turn-off for those who aren't in the mood... Only by listening closely, however, do we grasp that talk is actually the film's subject of study, the manner through which its characters stave off action, justify themselves or absolve their guilt; it becomes a weapon in an ongoing battle against insecurity, which is why the film's fundamentals feel oddly timeless: these are young people striving to articulate a path for themselves between the unnameable forces at play in the universe.
July 22, 2010
I might do as I am not sure.
June 16, 2010
Yay math and hot chicks.
½ June 7, 2010
"Ma nuit chez Maud est un film sup√©rieurement intelligent et esth√©tiquement √† la pointe de l‚??√©l√©gance." Ariane Beauvillard
May 30, 2010
Le noir et blanc est un peu sale et les moeurs semblent issues d'un autre siècle, mais les dialogues percutent et passionnent comme toujours chez Rohmer.
On y voit également Clermont-Ferrand comme vous l'avez toujours detesté: gris, moche et froid.
½ May 15, 2010
Excellent ! ça vole HAUT !!!! J'adore !
½ April 28, 2010
Guilt & desire, honesty & hesitation, justification of the present by past perspective.
½ April 5, 2010
Purport grounded relativity & dilemma of ethics, are signified and figured out by 3 distinct intellectual middle class individuals. Visions are filtered masterly in Rohmer's camera dialogically until character history becomes actual issue rather than event history.
March 31, 2010
pascals wager. i think what i find so interesting on a small scale about rohmers films is that the central action (or inaction, more appropriately) often concerns restraint. our main character has the best of opportunities but does not take advantage of the one he has with maud. its usually a moral test but often one that has unintended consequences, philosophically. rohmer is so adept at making an intelligent film that works on pretty much every level.
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