One of the two or three best things Lelouch has done to date. His skill as colorist has never been more in evidence, with a soft and harmonious image pieced together out of yellows, greens, browns. Catherine Deneuve has never looked lovelier, and in the flashbacks is done up in a way that recalls the more nostalgic loveliness of Kim Novak circa 1962. Anouk Aimee, used well by Lelouch in A Man and a Woman, is used well again in a sentimental return to the screen after a too long absence. And even Francis (a little goes a long way) Lai, Lelouch's regular musical composer, contributes an uncommonly catchy theme that never makes you sick or tired the countless times it comes around. If there is any inherent meaning in Lelouch's off-the-cuff narrative style and his ambulatory camerawork, it's just that the course of events can never be anticipated. And his story here, which might have made a good Bette Davis tearjerker forty or so years earlier, is full of appealing improbabilities and loose ends on its way to a beautifully diagrammed and extremely dogmatic Happy Ending, in which the heroine's adolescent son, taking a hand in destiny, plays Cupid to his long-suffering mother and his high-school history teacher, and then sneaks to the sidelines to watch the results of his manipulations. (1976) — Duncan Shepherd
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