Ein Affe im Winter (1962) Online

A splendid movie for everyone who had a dream and/or came back from it. About dream, excess, life, boredom, and going beyond what life gives you. And alcohol. To watch.

The actors are splendid, both at the best of their style, Gabin, an established, grounded man with a vision, Belmondo as a bold and hot-tempered, troubled young man. Suzanne Flon, Paul Frankeur and Noel Roquevert also strongly support the scenario in their 2nd roles.

The dialogues by Michel Audiard are just splendid. One liners that make you laugh and think beyond the action and that reflect on yourself.

It's a movie for people who dream further.

I have read a recent interview with Belmondo, saying that the veteran Jean Gabin hate all that new wave french cinema when he was asked to do this movie with young Belmondo, who was, at that time, an actor who was working with the New Wave directors (Godard, Chabrol, Truffaut). But a solid friendship was born when the two men work together on that movie. In fact, the respect and this friendship seems to be very easy to see when we look at this charming movie. It's full of a sense of poetry. It's a movie about friendship, dreams, nostalgia, sadness between two men from different generations. It's also a movie about alcool, in a sense that the beatniks of that era refers to. It's also very well written. Gabin and Belmondo gives a very warm performance. You must see this wonderful movie.

The good-looking Belmondo is a wonder in this fresh and lively movie:inventiveness, intoxication,agility,fearlessness, heartiness,fervency.He and Gabin give the action an almost dreamily dimension,when they kick up a row.They put to rout their fellow citizens with fireworks.The unflinching Gabin makes a rotund role,he acts GOOD-HUMOUREDLY, finely,unerringly.His character is a madcap fantasy man,a hot-spur.

Belmondo is unequaled in providing cinematographic pleasure.And "Un Singe ..." offers copious Belmondo mastership.

A provincial innkeeper is thrilled to find a mate in the fond of the bottle stranger who puts up at his inn.The stranger (Belmondo!) is merry , refined, nimble,spontaneous, youthful, suave.

The two have an allied in the shopkeeper Landru,a quaint, twisted man who sells old things together with obsolete histories.

Un singe en Hiver is a funny,light fantasy.The humor is mild and gentle.The characters are entirely fictitious,unrealistic.The situation is purely fanciful (otherwise,the plot is conventional,the poetry is cheap,gooey and low,the "wisdom" is fake).It shows what is hardening , narrow, smothering, stifling, in the provincial way of life,and also suggests an alternative.The movie lives by the performances given by Gabin and Belmondo.Belmondo is in fine fettle,unimaginably good in his role as a dreamy drunk and as a gourmet.He is as mad as a March hare.

Un singe en Hiver is not great cinema,not a 10/10 movie;but it is entertaining and mild,jovial and nicely done.And,above all,it offers one of the great, unhesitating, fragrant,fulfilled,graceful, unexampled,frolicsome, freely done Belmondo roles.Nonetheless,I think the movie is a little overrated by some.

"Un Singe ..." is one of the few important shows about dreaminess (though not on the same level as "Barfly" and "Days of Wine and Roses " ).It gets a fairy-like,ONEIRICAL thrill,suave,tender,delicate.

My favorite Belmondo shows are Pierrot Le Fou (1965) ,À bout De soufflé ,L' Homme De Rio,La Sirène Du Mississipi.

Albert Quentin (Gabin) is running a small hotel in a coastal town in Normandy. He and his wife (Suzanne Flon)have settled down to a dull, peaceful existence heading into old age, when Fouquet (Belmondo), a young man gifted in flamenco dancing and getting very drunk, erupts into their lives. Soon all is turned upside-down, the teetotalling Quentin starts drinking again, and the town is treated to the most spectacular impromptu fireworks display that I can recall seeing in a movie. And that's not all... The acting is good all round: Gabin and Belmondo play off each other very well, Suzanne Flon strikes the right wistful and optimistic notes, and Noel Roquevert is very funny as the owner of a boutique where you can buy just about anything, including fireworks. Gabrielle Dorziat (of Les Parents terribles) has a nice cameo as the director of a girl's school who insists on speaking English.

Henri Verneuil was a very popular director from the 50's to the 70's; without being a real auteur he had a talent for pleasing the audience. Un singe en hiver follows Mélodie en sous-sol with its fine Gabin-Delon pairing, and gave me a lot of pleasure.

A very good movie where Belmondo and Gabin performed a so great duet. The story of a man who has stopped drinking- and then dreaming- and who thanks to a young man who tries to forget a lost love in alcohol will turn drunk again during an exciting night. Every man who has ever felt the pleasure of alcohol as a dream and nostalgic catalyst will enjoy watching it. The dialogs are exceptionnal thanks to Michel Audiard.

What could I add more besides everything that has already been told? That's the only picture between Jean-Paul Belmondo and Jean Gabin. Unfortunately. it was at this time the new generation vs the old one. You will have nearly the same scheme in 2009, with LE VIEIL HOMME ET SON CHIEN, where this time Belmondo will have a short sequence - too short for my own taste - with Jean Dujardin; Belmondo had this time the same position Gabin had with him more than forty five years earlier.

This movie: UN SINGE EN HIVER, is not only a film about drunk people and loneliness, absolutely not, but about the true meaning of life and friendship. And in this film, Jean Gabin plays a old sailor character, the nearly same he will have nine years later in LE DRAPEAU NOIR FLOTTE SUR LA MARMITE, a poignant movie too, even being a comedy written by Michel Audiard.

A small coastal town in Normandy is the setting for this story. We are taken to the last days of WWII as Allied air forces begin bombing the town. Albert Quentin, a local hotel owner has been drinking heavily with a buddy at the brothel. It becomes clear they must abandon the building if they want to save their lives. Quentin makes a promise if he will be spared of a death: he will stop drinking.

Years go by and Quentin and his wife, Suzanne, are living and managing their hotel, Stella, located in the center of town. The city showed no signs of what the bombing it suffered. Gabriel Fouquet arrives one night and asks to be taken to a hotel. Most of the places are closed because of the winter season. The driver recommends him to go to the Stella. As Gabriel gets settled he wants to have a drink, but it is too late for that at the hotel.

Gabriel is a man with a secret. His own daughter is studying at a local boarding school run by nuns. Gabriel and he girl has been estranged by some unknown reason that is not well explained. Eventually, Gabriel and Albert connect in surprising ways. They see in one another good nature as well as a friendship that comes from mutual understanding.

Never having seen the film, we had a chance when it showed on a French channel. The film was directed by Henri Verneuil, an old timer in that country's cinema, closely associated with Jean Gabin, having worked with him in a number of pictures together. The screenplay is credited to Francois Bover and Michel Audiard, the father of director Jacques Audiard, in an adaptation of Antoine Blondin.

The pairing of Jean Gabin and Jean-Paul Belmondo was a gamble for the creators of the film. They came from different styles of acting. Mr. Gabin was a superstar in his native country, having done excellent work throughout his career. Jean-Paul Belmondo, who was much younger, was a product of the recent New Wave, which Mr. Gabin detested because the chaotic style the new directors brought to the cinema. Evidently the stars show a rapport unimaginable, something that translated in a friendship off the camera as well.

Suzanne Flon, a character actress, plays Suzanne Quentin. Louis Page, the director of photography captured the atmosphere of the little town of Normandy, even taking us to the beaches that saw the Allied invasion of France by the Allied forces.

Its lead virtue is to be more than a good comedy. a film about life. and its choices. about two men, in Tigreville. and about the result of that meeting who could change everything. a film about decisions, past strangers and...Spain. nothing new, but all useful in deep sense. because it is a simple film. about simple people. and about the fundamental meanings of existence. and sure, a fine motif for see it remains the presence of Gabin and Belmondo and their almost total seductive performances.

Despite his detestation of the New Wave (you got that one right, Jean)Gabin worked well with a new generation of actors, specifically Alain Delon and, as here, Jean-Paul Belmondo who was a genuine product of le nouvelle vague. This is a story of unlikely male friendship yet it is light years short of Il Postino in terms of intensity, it uses the unlikely bonding to generate laughs but L'Emmerdeur or virtually any of Francis Weber's other male bonding titles - Le Chevre, Les Comperes, Tais- Toi - leave it dead in the water. And yet it works, it weaves its spell, spins its web and we succumb gratefully. Of course Belmondo's sole representative of the nouvelle vague is hopelessly outnumbered not just by Gabin himself (even if by himself he is worth ALL the new waveleteers put together) but by the wonderful Suzanne Flon, Noel Roquevert and Gabriele Dorziat albeit in a cameo, all veterans of real French film making. All in all it's a joyous experience laced with a beguiling charm.

French films often focus on things that are really quite different from the English/American scene. They're a lot about dialog, attitude, and big(mouthed) iconic protagonists - often less about an obvious moral at the end. This film is neither really a comedy nor a drama, it's like that perfect nuance between the two and borrows from both in a very typically French kind of cynical/blasé way.

Instead of a great big moral as most films around the world usually have which they culminate towards, this one has rather a theme that is omnipresent throughout the developments. It's more like an ongoing element of both lead characters' conscience, or rather subconscious - as the synopsis states: the desire to travel. That irresistible urge to discover or rather rediscover a place exotic, festive and foreign; foreign to the boring old daily, routine life.

As referenced in the first line of this review, French films are best when the dialog is best and this one has the right quality for the ambitions of the story and Gabin and Belmondo both do a very good job, Gabin especially as he seems to have been that very character at some point in his life, understands him so well. Such lines as (speaking to his wife, -paraphrasing): "Suzanne tu n'as que des qualités, mais tu m'emmerdes !" - so French in spirit, and a sentence so heavy with significance as it pertains to the sheltered, redundant gentrified "real" life.

Interesting, well acted out, very good dialog, very well paced and filled up: 7.5/10. My own criticism: perhaps the "dream life" is hinted at too much where the film settles for carrying out the events in the plot while not further exploring that strong element of abstract emotion that remains merely underlying and implied.