Lelouch, the master of finding the humour and tragic desperation within human relationships has crafted a signature piece of romance for all us romantics. One annoying flaw is repetitiveness that could have been better edited, but the grand perspective is well worth the extra half hour. The film misses greatness but is well worth watching.
15 Reviews
Versions Need Explanation!
stonefly-953-79171518 January 2011
I loved this film when it first appeared in 1974 and I had waited a long time to see it again. It was just as wonderful as the first time with a big caveat. Reviewers here mention the fact that the version of this film now distributed on DVD in the US contains content that was not part of the film's original release in the US in the 1970's. Someone at IMDb who knows a lot more about this than I do -- should clearly explain this in the capsule summary on the film's front page. To be precise, the ending of the film in the "unedited" or better, "re-edited" version includes a ghastly ending sequence that ruins the ending. The version shown in the US in the 1970's showed a view through the airplane's window that was perfectly timed with the beginning of the credits rolling. That view through the plane window was both under-stated, elegant, and wonderful enough that it was my most stirring memory of this film and I was sadly disappointed to find it gone!
Personal tastes change with time
cesar-527 May 2006
Loved it when it came in 1974, at 15 the fateful romance theme was intoxicating. Seeing it for the second time a few decades later, there was a slow stirring of emotions until the last 20 embarrassing minutes of which i had no recollection. Was relieved to read other user's reviews on this site, which explained the CD showed the unedited version. Now i know that i don't have Alzheimmer's. Heavy on the Schmaltz and platitudes, this time around i enjoyed rediscovering the songs of Gilbert Becaud. The lyrics of "Et maintenant" somehow sum up the movie and my relationship to it: the cherish memory of it has departed. At one point Sarah, (the main character) observes that one should not see again the people we have loved , and the same might apply to this movie.
The Editor was right
hightop-112 August 2004
I've loved this movie since I first saw it in 1974. I've been waiting to show it to my wife for years and was delighted to find it had been put on DVD. It went along wonderfully until what I had known as to be the end suddenly jumped into an additional 20 minutes containing a futuristic (for 1974) pessimistic segment of the story. Although it tied into an earlier scene in the film (also left out of the original release), it was easy to see why this had been left out (in the US at least)...IT WAS STUPID. Furthermore, it changed the entire context of the film. What had been a wonderfully romantic story showing how two people destined to find each other after the events of their lives have shaped them had now become some bizarre cut rate version of Soylent Green. Such a shame. At least when a movie like this is released on DVD they could have made the "unedited version" optional, as was done on the My Darling Clementine DVD. All it shows me is that the editor is usually right from the start and giving the director's a chance to re-cut their film does not always result in an improvement.
I don't have a summary
shireylewis6 February 2005
This is my lifetime favorite movie too, replacing its predecessor of early years, IF. I don't know how many times I've seen it, more than 20. I like the music, the evolution of film portrayed in the techniques used, the love at first sight but you need to know the history to understand why it happens theme, the fact that the movie he's making in the movie is the movie you're seeing, the intricacy, the detail, the irreverence. The last scene through the airplane window when he notices she takes the mythical extra lump of sugar always makes me cry. I rarely see this film around in video stores anymore. I want to see it again. Haven't seen it in maybe a decade.
One of the most clever & exiting films. pure art!
i_gever25 October 2005
I have seen the film just a few nights ago.I agree that the futuristic part is enigmatic but it is also magic. Leloush couldn't give it up for the best reasons,and it is very dramatic to the story/legend that he is trying to tell us here. That part was taken at turkey,on the biblical site in the goreme valley, a cave town called the "The Witches Chimney's"- directly referring the Holocaust. Also, it is both futuristic & prehistoric land. This is the birthplace of nations in the bible. A place not far from Eden and Arrarat mountain. His point of view is panoramic and spectacular in that sense, and vital to the film which is an allegory before everything else. He points us the ongoing clash of traditions, nationalities,international politics and genders in one film which makes it a masterpiece to me. He also rewrites a totally different story of a man & woman, his classic, in historic context, only after 8 years.
A beautiful, wonderful movie
geoffreychaucerus15 February 2002
Wonderful orchestration leads to a disastrous finale
grahamclarke24 October 2005
"And Now My Love" sums up the curious qualities of director Claude Lelouch. While his talents are in abundance he ultimately lacks the ability to pull it off. What has the makings of a classic in the final analysis can only be regarded as a failure.
In a masterly fashion, Lelouch deftly orchestrates the eventual meeting of a man and woman who destiny decrees should be together. It's a romantic notion that has been at the centre of numerous movies, but seldom so wittily and intelligently dished up as in "And Now My Love". The entire movie consists of the winding paths that the protagonists follow until their eventual meeting. Lelouch embroiders this process with historical fact, social criticism and much humor.
However the eventual meeting of the predestined coupling is something of a letdown. The chemistry simply isn't there. When the movie was first released it ended with this somewhat unsatisfactory finale. But despite the ending, the film as whole had enough charm to leave a favorable impression. However Lelouch must have been troubled by the poor resolution to his master work and in what can only be conceived as a desperate measure, he tacks on a truly ludicrous appendage, which instead of salvaging the film, completely sinks it.
His sci-fi ending is a disastrous artistic decision. Anything else would have been preferable. Unfortunately the DVD edition does not allow the option for viewing the edited version. So after well over two hours of much enjoyment one is subject to an ending which leaves a particularly bad taste.
In a masterly fashion, Lelouch deftly orchestrates the eventual meeting of a man and woman who destiny decrees should be together. It's a romantic notion that has been at the centre of numerous movies, but seldom so wittily and intelligently dished up as in "And Now My Love". The entire movie consists of the winding paths that the protagonists follow until their eventual meeting. Lelouch embroiders this process with historical fact, social criticism and much humor.
However the eventual meeting of the predestined coupling is something of a letdown. The chemistry simply isn't there. When the movie was first released it ended with this somewhat unsatisfactory finale. But despite the ending, the film as whole had enough charm to leave a favorable impression. However Lelouch must have been troubled by the poor resolution to his master work and in what can only be conceived as a desperate measure, he tacks on a truly ludicrous appendage, which instead of salvaging the film, completely sinks it.
His sci-fi ending is a disastrous artistic decision. Anything else would have been preferable. Unfortunately the DVD edition does not allow the option for viewing the edited version. So after well over two hours of much enjoyment one is subject to an ending which leaves a particularly bad taste.
Intellectual Foreign Film
onegirlrev5 June 2011
Warning: Spoilers
"And Now my Love" directed by Claude Lelouch is a philosophical and socio political film which follows 3 generations leading to two adults who will someday meet each other when they become mature enough to deal with love. The director sends many social and political messages throughout this love story and one must pay close attention to gather all information. The film begins at the turn of the century. The director uses camera techniques to illustrate each period. It changes to conform to the movie-making industry. During the early 1900s, the film is a black and white silent film. First, we are shown a photographer and woman falling in love. Second, a lady giving birth. Third, a letter arriving during combat. The letter is by the cameraman and when he shouts, "it's a boy!" a bomb falls on him. A very nice montage of a human's life: Fall in love, produce children, and then we die. Repeat cycle.
Then the story begins with a dancer who is having an affair with an officer. She marries his superior. It is unclear whom the child belongs to. The husband soon discovers who the girl's father really is and kills the dancer. Suddenly we are thrown into a new period. We move into an era of color and sound. A train appears of men and woman returning from the concentration camps. A man locks eyes with a woman. No words are spoken but we know they are about to fall in love. From this scene we know all the characters shown are Jewish and related to one another. Finally, we are introduced to the new generation. Sarah who was born with a silver spoon in her mouth as her father (the man on the train) has become very successful with his shoe making business.
There is a parallel storyline of a young woman who was born with everything and a young man who had nothing. On Sarah's 16th birthday, it is clear her father spoils her rotten. A famous French singer Gilbert Becaud sings at her birthday party. He seduces her, takes her virginity, she falls in love, he leaves her, and she is left with a broken heart and tries to commit suicide. She survives and her father takes her on a trip to many exotic cities while teaching her about life experiences and the world. The filmmaker expresses monotonous philosophy. The filmmaker's personal views on religion, culture, history, etc. Sarah is a spoiled, ungrateful, and care free young woman so she sees no value in what her father says. She doesn't really appreciate it until after her father is gone. She didn't fight for what she has like her ancestors and when she inherits it all she has no idea what to do. Sarah has many love affairs but she is not content. She wants to have a child but doesn't really get along with men. She gets bored easily and moves on to the next thing that sparks her interest without a care. She starts out immature and turns into a social conscious writer often gaining insight from her father's words and her experiences.
On the other end, there is Simon who is the complete opposite of Sarah. Apparently he is just her type. We are given clues to this. For instance, Sarah mentions in a restaurant with her father, she wants "a man who is part rascal and part gentlemen." This describes Simon well. During the parallel stories we see him steal Becaud records after we are shown Sarah's party. He is a juvenile delinquent. We know Simon is mischievous but he is also a romantic. He struggles to survive but seeks a girl who sweetens her coffee with three teaspoons of sugar (as his jail mate said he must). When he is interested in a girl, he always asks her. We see Simon get his heart broken. He goes from thief to porn filmmaker to successful commercial director.
Throughout the film, there are updates on the time period with historical figures, events or cultural icons (WWI, Hitler, Marilyn Monroe, Berlin Wall, Nixon administration). Our two protagonists cross paths many times but do not meet until the end when on a plane and Sarah asks for three teaspoons of sugar. This is definitely a romantic film about destiny but at its core it is a political film addressing how society is rapidly changed throughout the century. The filmmaker was obviously influenced by both French and American culture and uses his own philosophy of life to move the film along. The film draws attention to politics such as wars, emptiness of western world, unionizing of workers, class, a bored generation who has everything, and degradation of society. However, in the end, the new generation is still shown to be capable as our two protagonists find each other.
Then the story begins with a dancer who is having an affair with an officer. She marries his superior. It is unclear whom the child belongs to. The husband soon discovers who the girl's father really is and kills the dancer. Suddenly we are thrown into a new period. We move into an era of color and sound. A train appears of men and woman returning from the concentration camps. A man locks eyes with a woman. No words are spoken but we know they are about to fall in love. From this scene we know all the characters shown are Jewish and related to one another. Finally, we are introduced to the new generation. Sarah who was born with a silver spoon in her mouth as her father (the man on the train) has become very successful with his shoe making business.
There is a parallel storyline of a young woman who was born with everything and a young man who had nothing. On Sarah's 16th birthday, it is clear her father spoils her rotten. A famous French singer Gilbert Becaud sings at her birthday party. He seduces her, takes her virginity, she falls in love, he leaves her, and she is left with a broken heart and tries to commit suicide. She survives and her father takes her on a trip to many exotic cities while teaching her about life experiences and the world. The filmmaker expresses monotonous philosophy. The filmmaker's personal views on religion, culture, history, etc. Sarah is a spoiled, ungrateful, and care free young woman so she sees no value in what her father says. She doesn't really appreciate it until after her father is gone. She didn't fight for what she has like her ancestors and when she inherits it all she has no idea what to do. Sarah has many love affairs but she is not content. She wants to have a child but doesn't really get along with men. She gets bored easily and moves on to the next thing that sparks her interest without a care. She starts out immature and turns into a social conscious writer often gaining insight from her father's words and her experiences.
On the other end, there is Simon who is the complete opposite of Sarah. Apparently he is just her type. We are given clues to this. For instance, Sarah mentions in a restaurant with her father, she wants "a man who is part rascal and part gentlemen." This describes Simon well. During the parallel stories we see him steal Becaud records after we are shown Sarah's party. He is a juvenile delinquent. We know Simon is mischievous but he is also a romantic. He struggles to survive but seeks a girl who sweetens her coffee with three teaspoons of sugar (as his jail mate said he must). When he is interested in a girl, he always asks her. We see Simon get his heart broken. He goes from thief to porn filmmaker to successful commercial director.
Throughout the film, there are updates on the time period with historical figures, events or cultural icons (WWI, Hitler, Marilyn Monroe, Berlin Wall, Nixon administration). Our two protagonists cross paths many times but do not meet until the end when on a plane and Sarah asks for three teaspoons of sugar. This is definitely a romantic film about destiny but at its core it is a political film addressing how society is rapidly changed throughout the century. The filmmaker was obviously influenced by both French and American culture and uses his own philosophy of life to move the film along. The film draws attention to politics such as wars, emptiness of western world, unionizing of workers, class, a bored generation who has everything, and degradation of society. However, in the end, the new generation is still shown to be capable as our two protagonists find each other.
It is so bad, you can't stop watching
pobm27 July 2000
We watched the dubbed film in fascinated disbelief. The dialogue was idiotic, not funny. The takes were long and boring while the transitions were abrupt and confusing. We apparently have neither the same sense of humor nor the same idea of romance as the other reviewers.
The Great - The Not-So-Great - and The Ugly
Zen Bones10 February 2004
Warning: Spoilers
I first saw this film in 1979 at a revival house and it turned me from a film lover to a film fanatic. If someone said to me at that time that I could make a feature film on any subject I wanted, I've no doubt that I too would have tried to cram the story of the 20th century into two hours. I too would have gone zaza with the camera, making it as obtrusive as hell but to the effect of bringing the audience to giddying heights of emotion. I too, would have made it a great love story as seen from the perspective of fate built up from generations. I doubt I could achieve what Lelouch achieved though, because he is a supreme story-teller. Just look at what he does in one scene where the parents of our heroine meet for the first time on a train. There is no spoken dialogue, but they communicate in resonant volumes just with their eyes.
Twenty-three years later, some cracks have worn through for me. I cringe every so often at the self-indulgence of the two romantic leads, particularly of our heroine, played exquisitely by Marthe Keller. There's a wonderful almost throwaway line when this super-affluent woman's father tells her she should try strolling through a hospital for just five minutes every day. It's sound advice, especially for someone so sorely lacking in the perspective of human angst. Also, sometimes it seems that the film's political ambitions are stretching through the seams since, with so little time to tell the story, people and positions get overblown. But overall I forgive the film these indulgences since it is the love story that keeps us grounded. Every so often our two lovers cross paths yet do not know what destiny is awaiting them. I can't imagine a single soul watching this not bursting a little with glee as the invisible hands of fate set up the moment when these two lovers inevitably do find one another.
SPOILER ALERT!
Alas, in the DVD version, that moment of magic has been spoiled. Just as Cupid's arrow softly strikes their unsuspecting consciousness, we are suddenly catapulted into another movie. I can only describe this movie as something like Zardoz-meets-The Pepsi Generation-meets-Masters and Johnson. Really, no words can describe it. Apparently, thirty years ago Claude Lelouch shot a sixteen-minute science-fiction segment (obviously under the influence of saccharin-laced LSD) to be edited into the last scene in the film. Either brighter minds prevailed or a moment of sanity took hold for Lelouch because that scene never made it to the final film. It should have been burned, but I guess it was tossed into some vault. It has now been unleashed and re-edited into the film, spoiling the subtly divine ending, and driving its audience to raid their medicine cabinets for massive doses of Tylenol. The scene simply has no business being there. It's dumb, painfully [!] dated visually, and even more ridiculous now than it was thirty years ago since its story assumes that by the new century (that's us), most humans will be giving birth to monsters. Jerry Springer and American Idol aside, Lelouch can't literally warrant a `See? Told you so!', and from the way it's illustrated in this film, such a the theory won't even hold water in the next millennium unless Edith Head's family line merges with that of Star Trek's art department. All I can say is see this movie with someone you love and near the end of the film when the lovers sit down in the plane and mention `three sugars', turn the movie off!
Twenty-three years later, some cracks have worn through for me. I cringe every so often at the self-indulgence of the two romantic leads, particularly of our heroine, played exquisitely by Marthe Keller. There's a wonderful almost throwaway line when this super-affluent woman's father tells her she should try strolling through a hospital for just five minutes every day. It's sound advice, especially for someone so sorely lacking in the perspective of human angst. Also, sometimes it seems that the film's political ambitions are stretching through the seams since, with so little time to tell the story, people and positions get overblown. But overall I forgive the film these indulgences since it is the love story that keeps us grounded. Every so often our two lovers cross paths yet do not know what destiny is awaiting them. I can't imagine a single soul watching this not bursting a little with glee as the invisible hands of fate set up the moment when these two lovers inevitably do find one another.
SPOILER ALERT!
Alas, in the DVD version, that moment of magic has been spoiled. Just as Cupid's arrow softly strikes their unsuspecting consciousness, we are suddenly catapulted into another movie. I can only describe this movie as something like Zardoz-meets-The Pepsi Generation-meets-Masters and Johnson. Really, no words can describe it. Apparently, thirty years ago Claude Lelouch shot a sixteen-minute science-fiction segment (obviously under the influence of saccharin-laced LSD) to be edited into the last scene in the film. Either brighter minds prevailed or a moment of sanity took hold for Lelouch because that scene never made it to the final film. It should have been burned, but I guess it was tossed into some vault. It has now been unleashed and re-edited into the film, spoiling the subtly divine ending, and driving its audience to raid their medicine cabinets for massive doses of Tylenol. The scene simply has no business being there. It's dumb, painfully [!] dated visually, and even more ridiculous now than it was thirty years ago since its story assumes that by the new century (that's us), most humans will be giving birth to monsters. Jerry Springer and American Idol aside, Lelouch can't literally warrant a `See? Told you so!', and from the way it's illustrated in this film, such a the theory won't even hold water in the next millennium unless Edith Head's family line merges with that of Star Trek's art department. All I can say is see this movie with someone you love and near the end of the film when the lovers sit down in the plane and mention `three sugars', turn the movie off!
The best film of all -le meilleur de tous les films
rene-1616 December 1998
I have seen this film in 1980 in Concepcion city of the south of Chile , where it was projected only for 1 or 2 weeks . The film was a success , and I can see only for two times . I look for the film in 1993 in Paris and I cannot find it. Then this year I began to search where I can find it using internet but it was not possible yet . IN MY OPINION THIS FILM IS ONE OF THE BEST FILMS IN THE WORLD AND I RECOMEND TO SEE IT: if you can find it.
Best romantic movie I´ve ever seen!
Quique-922 July 2001
I saw this movie in Lima, Peru back in the mid-seventies. I was impressed by Leluch treatment of the story´s three generational levels and the very original ending (the zooming camera on the luggage). That scene at the last few seconds of the film was the best ending I´ve ever seen for a romantic story, spreading through three generations. I would like to see it again, either on VHS or DVD but I think there is no version available. It´s a pitty.
One of the best films of all time
NickD30 March 1999
This is a complex, gimmicky, manipulative and insanely romantic film, and it's my all-time favorite movie, bar none. And I prefer the U.S. version, which was truncated somewhat from Lelouche's original, because it punctuates the essence of the film -- that we are all somehow destined to our fate, even going several generations back, but we must cooperate by following our hearts and souls. I've seen this movie more than 20 times and it still fascinates me.
This is one of the great romantic films of all time!
orbson6 August 2000
See the subtitled version if you can. Lelouch weaves a wonderful, comic and tragic story covering most of the 20th century Europe. Within this global sweep, he traces the path of two people who are destined to meet. You see events from their grandparents' and parents' lives and then from their separate childhoods.
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