Cebalord Very best movie i ever watch

Evengyny Thanks for the memories!

NekoHomey Purely Joyful Movie!

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

jzappa The Clockmaker is a technically well-crafted precision endeavor in direction, writing, and acting. Director Bertrand Tavernier fashions a subtle, conservative character study asserted into the framework of a crime story, a study of an aging, middle-class clockmaker with a downcast disposition, played, or rather inhabited, by Philippe Noiret. This commonplace man is stunned out of his sluggishness when he finds out that his only son has been arrested for murder.What is poignant about this story, and what improves the usually dormant drama of a crime film, is that Noiret lives quietly, alone with his son, who is almost grown up. In other words, his son is his whole tranquil life. Yet, when a detective played by mulishly tenacious Jean Rochefort asks him for help with the case, Noiret grasps how little he knows about his son, and struggles with his feeling that he is unable to blame him.The film opens on Noiret having a night out, when his friends crack wise on the elections, the leftists, a protest rally, and the death penalty. He has fun this night. The next day two policemen come to his shop and rummage around his adjoining apartment. They particularly search his son's room before taking him to the police station where Rochefort tells him his son is wanted for murder of a security guard at the place where his girlfriend was fired, and has not been apprehended. There was even an eyewitness.Tavernier puts Noiret's character through a motley crew of odd dramatic angles aside from just the press, who are of course just interested in ratings, but also tangents to the main thread of the film like right-wing hooligans who vandalize his window and two girls who confirm how vile the murdered guard was to women. The skillful essence of the film is in the abstractness of it, giving us impressions of how much his relationship with his son means to him, and how bewildered he is that he has no idea what to do to help his son, such as in his transit back home from the precinct and can't stand without feeling ill and has to ask a passenger for his seat.The film is not hard-hitting enough to be great, but it serves its locale with an authentic atmosphere. The story itself, no matter how well it poignantly portrays a world in miniature, is nevertheless very slight. On the whole, The Clockmaker is a dramatic exercise. As many other French films from the 1960s and '70s were, it is less about telling the story and more about technique. It doesn't compare to the boisterousness and self-consciousness of most of the New Wave films of that time, and in fact is a particularly subtle film. It is essentially a film that says of film-making, "Yes, less is more."

zolaaar The lonely, simple life of Michel Descombes (Philippe Noiret), a clockmaker who lost his wife years ago, changes when hears that his grown-up son murdered a man and is on the run with his girlfriend. Michel is shocked and questions his upbringing, while a nice police inspector (Jean Rochefort) shows much sympathy for him.Tavernier's shining debut and co-operation with New Wave veterans Aurenche and Bost brings a novel by Simenon on screen. It's a work of old-fashioned concision that the mechanic of the title would have been more than proud of. It is more a psychological study than a crime drama, because there is next to no outer plot. The happenings are taking place in the head of Michel, the father, masterly played by Philippe Noiret, who suddenly gets confronted with the serious actions of his son. He becomes aware of how little he knows about him, although they used to be together all the time. The focus is less on the murderer nor on the victim, but more on what the catastrophe means for the father of the committer, in a powerful work of authenticity.

Pehlevan In spite of watching that movie for the sake of great director Bertrand Tavernier, I came across a purely eccentric and impressive masterpiece. Philipe Noiret ,my favorite actor in il Postino and Cinemo Paradiso, performs his boundary limits. Bertrand Tavernier's left glass a little ruins films from the political concern. However this does not reduce the total film quality. Tavernier's camera focuses on an ordinary widow clockmaker surrounding with the high tension political turmoil in Lyon early 1970s. Noiret's son is accused of a factory boss murder and runaway. Between police and his son, Noiret tries to find the real reason that led the murder. But this is a neither action nor criminal movie. Pure relationship between father and son is the core theme of the film. All things considered I strongly recommend this impressive and emotional movie for people to have some idea about the political atmosphere of early 1970s.

MarioB I'm a big fan of director Bertrand Tavernier. For me, he's the best French director of the past 30 years. This is one of his early works of the seventies and it had all the elements that makes the great personality of his films. Above all : a great sense of reality. Sometimes, his movies looks like they were improvised, but, in fact, it can't really be. This one is like an emotional crescendo. In the begening, we didn't really know what's going on and what kind of man Philippe Noiret is playing. In the middle, we had a great idea, but we don't know that the last minutes will be so full of intense emotions. The great Noiret and Tavernier will make several other movies together. This is one is among the best.