Entre Nous 1983 123movies

Watch: Coup de foudre 1983 123movies, Full Movie Online – In 1942 in occupied France, a Jewish refugee marries a soldier to escape deportation to Germany. Meanwhile a wealthy art student loses her first husband to a stray Resistance bullet; at the Liberation she meets an actor, gets pregnant, and marries him. Lena and Madeleine meet at their children’s school in Lyon in 1952 and the intensity of their relationship strains both their marriages to the breaking point..
Plot: In 1942 in occupied France, a Jewish refugee marries a soldier to escape deportation to Germany. Meanwhile a wealthy art student loses her first husband to a stray Resistance bullet; at the Liberation she meets an actor, gets pregnant, and marries him. Lena and Madeleine meet at their children’s school in Lyon in 1952 and the intensity of their relationship strains both their marriages to the breaking point.
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Ratings:

	7.1/10 Votes: 1,971
	100% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 34 Popularity: 4.941 | TMDB

Reviews:

Honest, sad, beautiful and very touching
(Note: Over 500 of my movie reviews are now available in my book “Cut to the Chaise Lounge or I Can’t Believe I Swallowed the Remote!” Get it at Amazon.)

Michel (Guy Marchand) falls in love with Jewish refuge Lena (Isabelle Huppert) at first sight and offers marriage as a way she can avoid being sent to a German concentration camp. She accepts, and although she doesn’t love him, they have two children and are still married when we pick up the action again in Lyons in 1952 when Lena is 29-years-old. There she meets the sophisticated and well-to-do artist Madeleine (Miou-Miou) who awakens her to the drabness of her existence as a housewife with a loutish husband who now runs a gas station. The attraction between Lena and Madeleine is very strong, and very threatening to the men, especially to Michel.

Huppert’s poignant and bittersweet portrayal reminds me of her delicate work in Madame Bovary (1991). There is the same listlessness expressed along with a vague desire for something better out of life, and the anticipation of the sadness that we know will come of such desire. Miou-Miou is sharp and cynical with perhaps a streak of the manic-depressive about her. The love they spontaneously feel for one another is real and beautiful and makes us want it to be fulfilled. But Lena holds herself back because of her family, and then it is the men and propriety that get in the way.

Of course this is very French and Lena and Madeleine hold hands and comfort one another while telling each other their innermost secrets including the infidelities of their spouses, etc. (The men have no such communication.) Director Diane Kurys exercises more restraint in showing the physical nature of their mutual attraction than would be displayed today. Lena says to Madeleine at one point, “I want to kiss you,” but we do not see them kissing. The most explicit scene sexually is the startling, but delicately expressed, meeting with the soldiers on the train where we discover the full extent of Lena’s frustration.

This is not quite a great movie. The pace is a little slow in spots and sometimes the focus is not as sharp as it could be. But it is an extraordinarily honest movie, and I’ll take that over sharp technique any day. Huppert is not only at her best here, but her exquisite and subtle beauty is shown to great advantage. Miou-Miou is also very pretty of course–this is the first time I’ve seen her–so I would say her strength of character is perhaps her strongest suit. This is a human tragedy on a small, intimate scale, one that we can’t help but feel could have been averted had those involved understood one another better, had they been a little wiser. We’ve all been there before and so we can share the sadness and the sense of loss.

the destinies of two women in post-war France
In the final seconds before the credits we find out that for the director and co-writer Diane Kurys the film ‘Coup de foudre’ (which also had an alternative title ‘Entre nous’) made in 1983 was a very personal film, as one of the principal heroines of the story that unfolded on screen had been her mother. This is a special film, especially for the time when it was made, a film about the fate of two women in France in the aftermath of World War II, written and directed by a female director and conveying a strong feminist message. Reviewed from the perspective of the 37 years that have passed since the production, ‘Coup de foudre’ provides an assessment of the differences in approach to feminist themes and in fact of the status of women in French society and family between the 40s and 50s when the action takes place, the 80s when the film was made, and today. A good example of how cinema reflects what is happening in society.

The destinies of the two heroines are tragically marked by war. The prelude, which lasts only a few screen minutes, takes place in 1942 in Nazi-occupied France. Lena Weber (Isabelle Huppert) is a Jewish refugee from Belgium who is saved from deportation by what begins as a marriage of convenience with Michel (Guy Marchand). Madeleine (Miou-Miou) is an art student from a wealthy family who is struck by tragedy when the husband she just married is accidentally killed in an ambush of the Resistance. Michel will save Lena’s life for a second time by carrying her (literally) over the mountains to Italy. Madeleine will marry after the war an actor and conman named Costa (Jean-Pierre Bacri). The destinies of the two women meet in 1952, when the two families, both with children and on their way to apparent gentrification, meet in Lyon. But the two marriages are in crisis. The two women hit by fate during the war seek to make up for lost time, but face the family, economic and moral barriers put in the face of women by a France that had not yet emerged from patriarchy.

The friendship between Lena and Madeleine, their economic, artistic, erotic aspirations are at the heart of the film. If there is a lesbian tint in this relationship, it is only insinuated with the utmost discretion. The two women complement each other in characters and help each other in key moments, but there are also crises and separations. The interpretations of Isabelle Huppert and Miou-Miou are also minimalist, dominated by an opportune discretion. It is a feminist film and men by definition are not presented in a very favorable light, but their portraits are far from caricatured. Michel and Costa are rather victims of their own prejudices or rather of the prejudices of the society in which they grew up. Revised today, 37 years after its production ‘Coup de foudre’ impresses especially because of the respectful discretion by which a story that would otherwise risk sounding rhetorical and moralizing is beig told. If the conclusion seems a bit outdated today, this is a measure of the successes of the feminist cause on and off screen.

Other Information:

Original Language fr
Runtime 1 hr 50 min (110 min)
Budget 0
Revenue 0
Status Released
Rated PG
Genre Biography, Drama, War
Director Diane Kurys
Writer Diane Kurys, Alain Le Henry
Actors Miou-Miou, Isabelle Huppert, Guy Marchand
Country France
Awards Nominated for 1 Oscar. 2 wins & 7 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory Laboratoires Éclair, Paris, France
Film Length N/A
Negative Format 35 mm
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm