In "Le Grand Amour" (1969), Pierre's life unfolds within the confines of a provincial French city he never ventures beyond (his obligatory national service excepted). Accepting a marriage that offers stability and companionship, he finds himself ensnared in the mundanity of monogamy, familial obligations, and professional stagnation.
Despite its comedic façade there is pain, "Le Grand Amour" echoes the tone of a Demy musical, juxtaposing brightness with an undercurrent of sorrow and darkness. The film's impeccable imagery and meticulous set design immerse viewers in a world where even the smallest details provoke reflection and amusement.
In Alan Garner's (unrelated) novel, "Red Shift", a young man joked on comparing his own lodgings to those of his girlfriend - about her parents' house, as compared to his parents' caravan - "plenty of space for ducks on these walls". The joke is hinting at the bourgeois nature of English life at the time. Pierre comes into abundance and spacious accommodation via marriage, but the supposed increase in potentiality doesn't lead to bacchanalia or to the creation of an artist's studio, or a commune; the situation in which he lands lends itself to ducks on the wall, and even if they can afford ducks painted by Oudry, it's the same thing.
Etaix is perfectly aware of what Jerry Seinfeld with Elaine Benes pointed a generation or two later on in time, that the vast majority of us don't even get what little love Pierre has in this movie ("95% of the population are undateable"). Cupid is the real Procrustes, and you have to fit on the bed exactly in order to walk away with real romantic love in this life. This is borne out by the iconic "driving beds" reverie, as Pierre and his grand amour float past various broken dreamers. The love between Pierre and Florence is complex, for all the wanderings of the heart and the shortcoming between the ideal of love and the reality, short tender moments exist, and moments of marital harmony are welcome to see.
Amidst the melancholy, "Le Grand Amour" exudes a sense of forgiveness and understanding, recognizing the inherent folly of human relationships. Despite its titular promise, true love remains elusive for many, leaving them to grapple with unattainable ideals and perpetual dissatisfaction. The film's literary resonance, reminiscent of Simenon's nuanced explorations of human nature, elevates it beyond mere comedy, offering a poignant reflection on the complexities of love and longing.
In essence, "Le Grand Amour" is a profound exploration of the human condition, where humour and pathos intertwine to reveal the fragile nature of our deepest desires.
Despite its comedic façade there is pain, "Le Grand Amour" echoes the tone of a Demy musical, juxtaposing brightness with an undercurrent of sorrow and darkness. The film's impeccable imagery and meticulous set design immerse viewers in a world where even the smallest details provoke reflection and amusement.
In Alan Garner's (unrelated) novel, "Red Shift", a young man joked on comparing his own lodgings to those of his girlfriend - about her parents' house, as compared to his parents' caravan - "plenty of space for ducks on these walls". The joke is hinting at the bourgeois nature of English life at the time. Pierre comes into abundance and spacious accommodation via marriage, but the supposed increase in potentiality doesn't lead to bacchanalia or to the creation of an artist's studio, or a commune; the situation in which he lands lends itself to ducks on the wall, and even if they can afford ducks painted by Oudry, it's the same thing.
Etaix is perfectly aware of what Jerry Seinfeld with Elaine Benes pointed a generation or two later on in time, that the vast majority of us don't even get what little love Pierre has in this movie ("95% of the population are undateable"). Cupid is the real Procrustes, and you have to fit on the bed exactly in order to walk away with real romantic love in this life. This is borne out by the iconic "driving beds" reverie, as Pierre and his grand amour float past various broken dreamers. The love between Pierre and Florence is complex, for all the wanderings of the heart and the shortcoming between the ideal of love and the reality, short tender moments exist, and moments of marital harmony are welcome to see.
Amidst the melancholy, "Le Grand Amour" exudes a sense of forgiveness and understanding, recognizing the inherent folly of human relationships. Despite its titular promise, true love remains elusive for many, leaving them to grapple with unattainable ideals and perpetual dissatisfaction. The film's literary resonance, reminiscent of Simenon's nuanced explorations of human nature, elevates it beyond mere comedy, offering a poignant reflection on the complexities of love and longing.
In essence, "Le Grand Amour" is a profound exploration of the human condition, where humour and pathos intertwine to reveal the fragile nature of our deepest desires.