Intriguing romantic fantasy/drama: well-matched stars Marcello Mastroianni and Romy Schneider play former lovers, both conservatively married to other people who meet again after many years; however, the woman’s looks (and fortunes) have dissipated so much that the incident greatly disturbs the man.
When he recounts the fact to his old buddies, he’s shocked to learn that one of them had signed the woman’s death certificate some three years earlier! Undaunted, he goes to her old home in town – where she turns up again…but he also becomes an unwitting witness to a bloody murder! At a party, he’s forewarned of an unexpected but fateful journey by a creepy-looking priest. In fact, a chance visit to Schneider’s own hometown occasions a third meeting at her husband’s mansion – where Mastroianni’s surprised to find her re-invigorated and more beautiful than ever! Having told his doctor/buddy of Schneider’s perfect health, the latter opts to show the hero her death certificate…but he expires from a heart attack before they can meet!
The couple then reprise their affair and they take a boat ride for old time’s sake; on his way to pick her up, he sees a man on the beach (he turns out to be the nephew and suspected murderer of the gossiping woman he had previously seen killed!). Events take a tragic turn as the boat capsizes and Schneider is drowned before Mastroianni’s very eyes! He reports the fact to the Police, whose investigation turns up only the body of the presumed murderer – it could well be that both violent deaths were a case of retribution from beyond the grave! Guilt-stricken, our hero decides to confront the woman’s husband (Wolfgang Preiss) who drives him out, having re-awakened painful memories of his wife’s death – which he too claims to have occurred long before!
The lovers meet casually one more time on a bridge – where she’s reverted back to her ‘old crone’ look. The last scene finds Mastroianni at a mental hospital where the nurse taking care of him is a dead-ringer for Schneider…! From this synopsis, one can get an idea of what the film is like: a celebration of “amour fou” in the vein of PORTRAIT OF JENNIE (1948) mixed with a bit of ghoulishness; director Risi handles the twist-laden proceedings with his customary elegance but also an atypical glumness – indeed, the ‘second chance at love/time manipulation/doppelganger’ concept cried out for Alain Resnais!
When he recounts the fact to his old buddies, he’s shocked to learn that one of them had signed the woman’s death certificate some three years earlier! Undaunted, he goes to her old home in town – where she turns up again…but he also becomes an unwitting witness to a bloody murder! At a party, he’s forewarned of an unexpected but fateful journey by a creepy-looking priest. In fact, a chance visit to Schneider’s own hometown occasions a third meeting at her husband’s mansion – where Mastroianni’s surprised to find her re-invigorated and more beautiful than ever! Having told his doctor/buddy of Schneider’s perfect health, the latter opts to show the hero her death certificate…but he expires from a heart attack before they can meet!
The couple then reprise their affair and they take a boat ride for old time’s sake; on his way to pick her up, he sees a man on the beach (he turns out to be the nephew and suspected murderer of the gossiping woman he had previously seen killed!). Events take a tragic turn as the boat capsizes and Schneider is drowned before Mastroianni’s very eyes! He reports the fact to the Police, whose investigation turns up only the body of the presumed murderer – it could well be that both violent deaths were a case of retribution from beyond the grave! Guilt-stricken, our hero decides to confront the woman’s husband (Wolfgang Preiss) who drives him out, having re-awakened painful memories of his wife’s death – which he too claims to have occurred long before!
The lovers meet casually one more time on a bridge – where she’s reverted back to her ‘old crone’ look. The last scene finds Mastroianni at a mental hospital where the nurse taking care of him is a dead-ringer for Schneider…! From this synopsis, one can get an idea of what the film is like: a celebration of “amour fou” in the vein of PORTRAIT OF JENNIE (1948) mixed with a bit of ghoulishness; director Risi handles the twist-laden proceedings with his customary elegance but also an atypical glumness – indeed, the ‘second chance at love/time manipulation/doppelganger’ concept cried out for Alain Resnais!