Marion must maintain the pretence that her husband has fled the country, and assume a certain manner to deal with Daxiat. The film repeatedly considers the various roles that its characters play off the stage. The city’s most feared critic is the odious Daxiat, a wheeler-dealer Nazi collaborator played to perfection by Jean-Louis Richard and based on a real wartime critic. In a wry gag, one of the staff predicts that the critics will pan the translation – even though none of them speak Norwegian. That production, ironically entitled Disappearance and by no accident exploring fear, secrets and lies, is by a Norwegian playwright. While she plots his escape from Paris, he is to direct her new production by proxy, listening into rehearsals on the stage above. The Last Metro revolves around a Montmartre theatre that we are shown from top to bottom: the offices where lead actor Marion Steiner ( Catherine Deneuve, in a part written for her) looks after business the quarters of the concierge who can be seen washing her son’s hair after a German soldier pats him on the head the stage door where actor Bernard Granger ( Gérard Depardieu) arrives from the Grand Guignol to star opposite Marion and the bowels of the building where Marion’s Jewish husband, theatre director Lucas (Heinz Bennent), secretly lives in hiding from the Nazis. Gerard Depardieu and Catherine Deneuve in The Last Metro. Watching the film again, I was reminded of how in the wake of the Grenfell Tower fire local theatres such as the Gate and the Playground in west London stressed that their doors were open for those who needed a safe space for reflection.Ī space for reflection. Against the perpetual atmosphere of dread, distrust and suspicion fostered by the occupation, the illuminated stage is shown to be a refuge from the bitter streets. The prologue tells us that Parisians flocked to the theatre “for warmth” – literally so, in the cold winter of that year with fuel scarce and queues for food.īut Truffaut’s film also emphasises theatre’s potential to stoke emotional warmth, whether it’s an audience’s shared experience or, despite their bickering, the coming-together of cast and creatives putting on the show. The second world war saw a boom in theatregoing 800,000 people went to the theatre in one month alone in Paris in 1942, the year in which the film is set. You can use this line to move in Milan or to reach some cities outside Milan like Como, Varese, Cremona, Lodi etc.The title of The Last Metro refers to the wartime curfew in occupied Paris, where theatres remained open but audiences had to rush home after the show. It has only 6 main stops in the city, which are Porta Vittoria, Dateo, Repubblica, Porta Venezia, Porta Garibaldi and Domodossola. PASSANTE FERROVIARIO (PASSANTE RAILWAY) OR SUBURBAN LINE – It is an underground railway which runs through Milan. The most important stops are Isola (Porta Nuova district), Monumentale, Portello (City Life district) and San Siro. On Sundays and on Holiday the metro runs from 06.00 a.m. LINE 5 / LILAC LINE – The lilac line connects the northern area of Milan with the western area. At the moment, this metro connects Linate Airport to Piazzale Susa. LINE 4 / BLUE LINE – This new metro line is under construction, at the moment only 5 stops are ready. ![]() The most important stops on this line are Duomo, Montenapoleone, Centrale FS and Porta Romana. ![]() to 00.30 a.m., and on Sundays and on holidays from 06.00 a.m. LINE 3 / YELLOW LINE – This line runs from north to south in a single line. It runs every day from 05.30 a.m. On Sundays and on holidays the metro runs from 06.00 a.m. LINE 2 / GREEN LINE – It is the second metro line in Milan and connects some important touristic areas of the city, such as the Navigli area, Moscova, Brera district and Cadorna. The most important stops on the red line are Duomo, San Babila, Castello and Cadorna FN. LINE 1 / RED LINE – It is the most important metro line in Milan and it connects its most relevant areas from the city center to the suburban area of the city.
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