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L'homme qui aimait les femmes (1977)

Bertrand Morane's burial is attended by all the women the forty-year-old engineer loved. We then flash back to Bertrand's life and love affairs, told by himself while writing an ... See full summary »

Director:

François Truffaut
Reviews
1 win & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
Charles Denner ... Bertrand Morane
Brigitte Fossey ... Geneviève Bigey
Nelly Borgeaud ... Delphine Grezel
Geneviève Fontanel Geneviève Fontanel ... Hélène (as Genevieve Fontanel)
Leslie Caron ... Véra
Nathalie Baye ... Martine Desdoits
Valérie Bonnier Valérie Bonnier ... Fabienne (as Valerie Bonnier)
Jean Dasté ... Docteur Bicard
Sabine Glaser Sabine Glaser ... Bernadette
Henri Agel Henri Agel ... Lecteur
Chantal Balussou Chantal Balussou
Nella Barbier Nella Barbier ... Liliane, la Karateka
Anne Bataille Anne Bataille ... La jeune femme à la robe frangée
Martine Chassaing Martine Chassaing ... Denise
Ghylaine Dumas Ghylaine Dumas ... La seconde employée 'Midi-Car'
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Storyline

Bertrand Morane's burial is attended by all the women the forty-year-old engineer loved. We then flash back to Bertrand's life and love affairs, told by himself while writing an autobiographical novel. A film about romantic relationships, the need to charm, and the literary creation. Written by Yepok and Brian McInnis

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Certificate:

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Parents Guide:

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Details

Country:

France

Language:

French

Release Date:

27 April 1977 (France) See more »

Also Known As:

Moški, ki je ljubil ženske See more »

Filming Locations:

Montpellier, Hérault, France

Company Credits

Production Co:

Les Films du Carrosse See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Black and White | Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

François Truffaut wrote the first draft of this script on the set of Близкие контакты третьей степени (1977). See more »

Goofs

[All goofs for this title are spoilers.] See more »

Quotes

Bertrand Morane: There even were pills to keep you happy. This is not very romantic but I find this funny, the thought that love stories with an unhappy ending can be healed using chemicals.
See more »

Connections

Remade as The Man Who Loved Women See more »

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User Reviews

 
Loved??
15 February 2008 | by jcappySee all my reviews

Another good film by Truffaut (as with DW Griffith, Leni Riefenstahl) in the sense of a good watch, but why does it seem so gloomy and weighted down--at times even like a horror film.

Is it because Bertrand Morane is a solitary? Or because he draws us into a world (through his low key, partly sympathetic rendering) that is somehow upsetting and/or even detestable? Is it because the view here is hothouse psychological? A kind of Freudian mind drama in which a mother-son dyad subsumes everything outside itself to its own ends? (see "Alfie" for a social view of a similar womanizer) Is it because of the extent to which this fantasy is carried out---that it finally seems deranged, and sick, as if the product of a puerile mind in an adult? Or is it all the concealment techniques used to paint Bertrand as so exceptional a male that he might even find acceptance on an all-female island?

I think all of the above count but for my part the real source of gloom is the absence of women in "The Man Who Loved Women." No matter the angle, the multiplicity of women (one arguable exception) are singularly available to Bertrand Morane. They are inspected (their entry into his world and our screens), pursued, consumed, and disposed of--all to their immense delight. This is their invisibility Oh yeah, they have their fleeting stories, but these are invariably subsumed by Bertrand's script, which is all about pleasure, appetite, and some trumped up memory of a delinquent promiscuous mother.

But the big lie in all this and what Bertrand is most convinced of is that women want and need sex--and specifically from him. This availability is so patently confirmed as to be pornographic. Each step of his lovers' butterfly-like life span with him is not only accepted, but savored and yearned for. It's as if his sexualizing puppy-love has incapacitated them, cutting them off from both their own minds, and their own worlds. No way they're drawn to him for social reasons (this is not "Alfie")---but an irressistable urge which speaks for the social power (cleverly hidden by Truffaut) behind his very personal power trip. And accounts for Bertrand's capacity to transform live, often tall, world-aware women into fun sex toys.

The real convincer in this schema of availability, though, is Genevieve, the editor publisher. You expect her to be the point woman for exposure, given her position and her inside view of Bertrand's story, but no--she is the ultimate patsy. She not only loves his refreshingly honest take on his use of women---which she convinces herself is so modern, and contains a tendency toward equality, but converts five resistant male co-publishers to her view. Which makes it just a matter of time--she's lucky to be leggy-- before she expresses wimpish longings for the said Bertrand Morane and jumps into bed with him. And her love, like that of all his others, will soon become eternal and confer a kind of sainthood on the late Bertrand. If this seems astonishing than her role in the burial scene confirms it to be nakedly true. Surrounded by dozens of Saint Bertrand's lovers, she supplies the voice over as each woman approaches to toss dirt on his coffin. She touts each as an example of Bertrand's diverse taste for women... like shy, myopic, gentle, passionate, orphanish, funny, and so forth, ad nauseam as if even greater holiness might be bestowed on a male who has slept with Asians, Blacks, Latinas, Russians, and Native Islanders. Anyway, a "fitting" end indeed to a man who classified all women as either "kittens" or "fillies."


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