Claude Lelouch, 29, is the do-it-yourself French filmmaker. He has made several pix as director, writer and cameraman, and even produced via his own company. He now repeats with a little more ambition.
Lelouch has practically no story. He has mock scenes speculating on characters thinking, flash-forwards for hopeful consummation. There are practically non-stop car rides, and the inevitable love scene.
It concerns a widow who meets a racing car driver at the school where they board their respective offspring. He has a wife, though he seems estranged. Love blossoms but is frustrated, since she still seems too taken by the memory of her late husband. Ending implies she will finally forget spouse to live with the man.
Film misses puerility and coyness by Lelouch’s seeming unfettered joy in filming his scenes. Through constantly roving camera, and especially two charming actors, he redeems rough spots of repetition, archness and a general preciosity.
Sepia and tinted scenes are mixed with regular color and are sometimes effective enough to give a mood to a scene that does not have it in its progression, talk or observation. Music is much too saccharine and insistent.
Anouk Aimee has a mature beauty and an ability to project an inner quality that helps stave off the obvious banality of her character, and this goes too for the perceptive Jean-Louis Trintignant as the man.