6.9/10
496
2 user 9 critic

One Sings, the Other Doesn't (1977)

L'une chante, l'autre pas (original title)
The intertwined lives of 2 women in 1970's France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain... See full summary »

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Cast

Cast overview, first billed only:
Thérèse Liotard ...
Suzanne Galibier - puis Aubanel
Valérie Mairesse ...
Pauline alias Pomme
Robert Dadiès ...
Jérôme
Mona Mairesse ...
La mère de Pomme
Francis Lemaire ...
Le père de Pomme
François Courbin ...
Mathieu - 9 mois
...
Darius
Gisèle Halimi ...
Gisèle Halimi
Salomé Wimille ...
Marie - 3 ans
Nicole Clément ...
La prof de philo
Jean-Pierre Pellegrin ...
Docteur Pierre Aubanel
Joëlle Papineau ...
Joëlle
Micou Papineau ...
Micou
Doudou Greffier ...
Doudou
Dane Porret ...
Le rocker yéyé
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Storyline

The intertwined lives of 2 women in 1970's France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain an abortion after a third pregnancy which she cannot afford. They lose contact but meet again ten years later. Pomme has become an unconventional singer, Suzanne a serious community worker - despite the contrast they remain friends and share in the various dramas of each others' lives, in the process affirming their different female identities. Written by Alison Smith <mla22@cc.keele.ac.uk>

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Drama

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Release Date:

9 March 1977 (France)  »

Also Known As:

One Sings, the Other Doesn't  »

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(cut)

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Color:

(Eastmancolor)
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User Reviews

 
It's a long way from Cleo.
26 January 2000 | by (Dublin, Ireland) – See all my reviews

Without being accused of gratuitous nastiness (as rightly prohibited in the IMDb guidelines), can I just say how disappointing, to the point of hostility, I found this film, especially as I think its director's brilliant early work is in desperate need of re-evaluation. This film has none of her virtues - the mix of spontaneity with supreme formal control; the contrast between the privileging of heroine's subjectivity and ironic objectivity.

Instead, this is a formless, rambling picaresque, using two female friends to chart feminism throughout the 60s and 70s. Many of the film's arguments seem to me anti-feminist; the songs are largely sub-Joan Baez and intolerable; the lack of any ironic intelligence countering the optimism and platitudes is patronising; and I still can't believe the rather tactless Eurovision-style song about abortion.


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