The Last Metro (1980)

Phipps praises the film’s warmth and humanity amid the peril of wartime occupation. He singles out Truffaut’s restrained depiction of danger and the theater company’s artistic commitment.

The review calls the film richly satisfying, romantic, and uplifting while also finding it a fascinating portrait of life under occupation. It singles out the restrained direction and praises Catherine Deneuve’s performance, especially in her scenes with Heinz Bennent and Gérard Depardieu.

Parkinson presents the film as a humanist, personal take on Occupation-era Paris, while noting its nostalgic portrait drew criticism. He singles out Truffaut’s belief that everyone has their reasons as the film’s central strength.

The capsule presents the film as a vivid, historically grounded memory piece, though its plot balances on coincidences and narrow escapes. It praises Truffaut’s evocation of wartime Paris through firsthand details of the city and its pervasive antisemitism.

The URL identifies a New York Times article titled “The Last Metro: A Melodrama of Sorts.” The page returned only an access prompt, so the critic’s verdict and specific praise or complaint could not be verified.

Croce finds the film charming and crowd-pleasing, but limited by fuzzy-centered nostalgia. He praises its warm performances and deft cinematography while faulting its tasteful, sanitized portrayal of Occupied Paris.

The available description suggests a critical verdict on Truffaut’s move toward crowd-pleasing. It singles out that tendency as threatening to overwhelm his talent, though the full review is unavailable.

Wilkinson finds the film’s many strands oddly muted, with its romance too restrained and its theatricality undercutting tension. She praises the performances, especially Catherine Deneuve’s beguiling portrayal of Marion.