It's passed into legend: how the young Turks of French cinema--Truffaut, Chabrol, Godard and the others--wanted to sweep away the dusty relics of the previous generation, the so-called well made films. What's less known is how those young Turks went on to make some of the stuffiest movies of the late 60's and 70's: I'm thinking of Resnais's Stavisky, Chabrol's Juste avant la nuit and La decade prodigieuse, Truffaut's Dernier Metro. The art decoration and costumes are impeccable; the stories often leave you falling asleep. Pierre Granier-Deferre is the same age as the men I've mentioned, but never gave in to the urge to experiment. As a result he never fell into total boredom, just as he never excites us.

Drieu la Rochelle killed himself in 1945 before he could be charged with collaborating with the Germans, so he's always been a little daring for film directors. Louis Malle, who would take on any project, made a great film out of Le feu follet. Granier-Deferre is careful not to upset the sensibilities of those who remember the war, and the horrors of collaboration. I'm sure he makes Boutros out to be a more sympathetic character than he is in the novel (which I can't seem to find anywhere). Victor Lanoux plays him with a lot of charm, making him a great foil for Romy Schneider who is at the peak of her glory here. Philippe Noiret gives excellent support as the rich man who wants to support Romy. It's a shame the direction is so stodgy; the camera hardly moves in those overdecorated rooms.

I am stimulated to write this review because the review of May 16, 2012, expresses opinions exactly opposite to mine. A Woman at Her Window is I believe one of the greatest films of all time.

Boring? Hardly. The script is quite brilliant and allows the radical Boutros (Victor Lanoux) to have great verbal political skirmishes with Raoul Malfosse (Philippe Noiret) that are very engaging. Romy Schneider plays Margot and she has never been more beautiful. She is married to Rico, Italian diplomat, who has somehow lost interest in her. But with great charm and courage he protects both his wife and Boutros.

The passionate love affair is heartfelt and completely believable. At the same time Margot is not insensitive and her final scene with Rico is very moving.

The complaint that the political side is skimmed over seems misplaced here. The political issues raised in Greece in 1936 under Metaxas set in motion the meeting of Margot and Boutros but this is not primarily a film about politics. Rather it is about complex fascinating characters at the upper levels of society, one of whom---Margot---experiences deep intense love as she has never felt before. To complain that we do not see much of the victims of Metaxas misses the point of the story that is being told. Yes Costa-Gavras pushed politics---but at the expense of drama. Pierre Granier-Deferre is the superior director precisely because he focuses on the human heart--real drama.

This film is brilliant and deeply moving and I strongly recommend it.