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Erm... I feel a little embarrassed; I can't join in the praise for this film, which I found too long and too unfocused. Louis Malle seems to have thought that just following Michel Piccoli around the estate as he tends to the bees and catches crabs, among other duties, while Stéphane Grappelli plays his winsome harmonica was enough to keep us engrossed. The real story is what was going on in Paris and other large cities in May 1968 (it was quite dramatic, as I recall from my safe haven in North America).The story is flimsy: Milou and his brother Georges along with Milou's daughter Camille and Georges's children Claire and Pierre-Alain gather to attend the funeral of Mme. Vieuzac and distribute the family goods. Claire and Camille have a lively argument about the heritage, which disturbs Milou. His life has been so tranquil up to now...The actors are let loose to give us a succession of star moments. Piccoli has his scene with the crabs, Miou-Miou her dalliance with the lawyer (superb François Berléand), Bruno Carette shows up midway as the lusty truck driver, Paulette Dubost is included as a tribute to the generation of Renoir and Carné. Finally Dominique Blanc as Georges's lesbian daughter has the best moments: she plays a Debussy piece ferociously as she watches her girlfriend flirting with Pierre-Alain. You can practically see the smoke pouring out of the piano. She also tantalizes the trucker--and us--with her bare breasts.I don't know which director did the best account of the events of 68; possibly Wexler with his Medium Cool. Malle has not carried us back to those frenzied days, but has given us a series of vignettes as a way to show off the talents of his cast.
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