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The Man Who Loved Women
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Directed by François Truffaut.
When he suddenly dies and is buried, the late Bertrand Morane (Charles Denner), an aeronautical engineer from Montpelier, receives funeral visitation from hundreds of women. Little wonder: in life, Morane simply couldn't keep his mind off of women -- one glance at a well-turned ankle and he was lost. Astonishingly, women felt the same way about him. Though more than one paramour held it against Bertrand when his eyes wandered, he never considered his promiscuousness a shortcoming -- which led him into amorous relationships with such colorful characters as a married sociopath (with a taste for lovemaking in risky places), a shapely blonde babysitter, an introspective book editor, and dozens of others. Ironically, Morane's success with women hardly represented a gift, for a deep, abiding loneliness lingered within him, resulting from his utter inability to love one woman. Bertrand (who eventually decided to write and publish his autobiography, "The Man Who Loved Women," as a form of self-analysis), could never quite pinpoint the source of his lack of romantic faithfulness, until a fateful and utterly unexpected chance encounter with someone from his past. Read by many as a thinly disguised film à clef for writer/director François Truffaut, The Man Who Loved Women mixes sharp, witty comedy with scenes of gentle poignancy; Truffaut uses the tale to make some deep and tremendously profound comments about love, sex, fidelity, and the underlying differences between men and women. The picture was thinly remade in 1983 by Blake Edwards, with Burt Reynolds as the irresistible hero and Julie Andrews as his therapist. ~ Hal Erickson, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
Truffaut's obsession with women and love is central to his films, and here he looks with bemused irony on a womanizing protagonist who seems to be more than slightly autobiographical. Although a mild-mannered middle-aged writer, he has only to see a theater usher cross her legs before he reflexively makes his move. His most taxing dilemma arises when two equally attractive women pass in opposite directions: which one should he chase? Charles Denner, whose diffidence has usually confined him to supporting parts, is well-cast as the slightly melancholy roue, who is so laid back that it takes time to register that his egoless charm is racking up a startling number of conquests. Indeed, as he moves smoothly from one woman to the next, he rarely hears a discouraging word from his gorgeous quarry, among whom are Nathalie Baye, Brigitte Fossey, and Nelly Borgeaud. But despite Truffaut's characteristic lightness and subtlety, the film would be little more than a witty male fantasy, did it not gradually insinuate the underlying sense of emptiness left by the man's obsession. There's little attempt at explanation; when his doctor humorously chastises him for being an aging hound, his only excuse is that he cannot love one woman, because, like the director, he has suffered parental neglect. But in the film's wickedly ironic conclusion, Truffaut intimates that, in fact, character may be destiny. ~ Michael Costello, All Movie Guide
 



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