A Man and a Woman

Advertising, if not cinema, colonised these images long ago. Yet how to resist a pairing as photogenic as Anouk Aimee and Jean-Louis Trintignant?

It's full of misty romps in the meadows, rain-soaked windshields, assorted puppies and lambs, and a 'bittersweet' theme song that drones incessantly on the sound track.

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.

Notoriously schmaltzy but still undeniably eye-catching.

They seem two dimly sentient beings moved by memories of conventional affections and the compulsions of ordinary love.

Failing to find the words to resolve this situation, Lelouch leaves the rest of his story to his songwriters, and, predictably, the picture sinks into the sticky swamp of adolescent lovisms.

This rightfully holds a special place in the hearts of filmgoers everywhere.

Enjoyable slick soap opera romance that did a big box office despite its superficial strains.

Effusively romantic, visually stunning, slightly bland.

Style is everything in Lelouch's romantic melodrama, one of the 1960s most popular international hits, due to the music and chemistry between the glamorous Anouk Aimee and the sexy Trintignant, both at their peak