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Seven Days… Seven Nights is a italien film of genre Drama directed by Peter Brook released in USA on 6 january 1964 with Jeanne Moreau
Seven Days… Seven Nights (1960)
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Add to a movie listReleased in USA 6 january 1964
Length 1h30
Directed by Peter Brook
OriginItalie
Themes Films about music and musicians, Films about sexuality, Films about classical music and musicians
Rating68%
Seven Days... Seven Nights (French: Moderato cantabile) is a 1960 French drama film directed by Peter Brook. It was entered into the 1960 Cannes Film Festival, where Jeanne Moreau won the award for Best Actress. It is based on the 1958 novel Moderato cantabile by Marguerite Duras.
Synopsis
Dans une ville portuaire, une jeune mère bourgeoise, Anne Desbaresdes, rencontre un ancien ouvrier de l'usine que gère son mari. Par le biais de conversations entre oisifs, qui s'étirent lors de fins d'après-midi dans un café, Anne confronte sa vie rangée à une passion basée sur un idéal développé tout au long du film. Le récit s'ouvre en effet sur un meurtre passionnel sur lequel l'héroïne va ressasser des questions nécessairement sans réponse.Actors
Jeanne Moreau
(Anne Desbarèdes)
Jean-Paul Belmondo
(Chauvin)
Pascale de Boysson
(Bar’s owner)
Jean Deschamps
(M. Desbarèdes)
Didier Haudepin
(Pierre)
Colette Régis
(Miss Giraud)
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Suggestions of similar film to Seven Days… Seven Nights
There are 206 films with the same actors, 9 films with the same director, 66899 with the same cinematographic genres (including 13140 with exactly the same 2 genres than Seven Days… Seven Nights), 11909 films with the same themes (including 17 films with the same 3 themes than Seven Days… Seven Nights), to have finally 70 suggestions of similar films.If you liked Seven Days… Seven Nights, you will probably like those similar films :
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In general terms, the story involves epic incidents between two warring families, the Pandavas (representing the good side) and the Kauravas (representing the bad side). Both sides, being the offspring of kings and gods, fight for dominion. They have both been advised by the god Krishna to live in harmony and abstain from the bloody lust for power. Yet their fights come to threaten the very order of the Universe. The plot is framed by a dialogue between the Brahmin sage Vyasa and the Hindu deity Ganesha, and directed towards an unnamed Indian boy who comes to him inquiring about the story of the human race.
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, 1h34Directed by Peter Brook
Origin United-kingdom
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In the 1700s, a beggar is tossed into London's Newgate jail, along with a pile of papers upon which his unfinished opera is scribbled. The beggar boasts to the other prisoners that his opera, unlike others of the day, is about a real person, the dashing highwayman Captain Macheath, who, dressed in a red coat, holds off the world with a pistol in each hand, seduces women with five notes of a tune, and generally leaps from misfortune. To the beggar's disappointment, the other prisoners point out that his hero Macheath is among them, in irons and behind bars, and Macheath, who is scheduled to be executed the next morning, admits that there is "no arguing with reality." Taking the first page of the opera, Macheath begins singing, and the beggar, encouraged by Macheath's good voice, urges him to continue, until the following story, the beggar's opera, is sung for the prison inmates: While riding to London, feeling merry and free, Macheath robs a carriage, and steals a kiss and a locket from a maiden. Later, in London, Macheath's wife, Polly Peachum, pines for him. Polly's parents, shopkeepers Mr. Peachum and his wife, are scandalized to learn from their employee Filch that Polly has secretly married the highwayman. To make the best of the situation, as they are always eager to make money, they urge her to lure Macheath into a trap and collect the reward for his capture. Meanwhile, outside of town, Macheath encounters a carriage ridden by Newgate's jailor Mr. Lockit, Lockit's daughter Lucy and Mrs. Trapes, whom Lockit is wooing. Lucy, who met Macheath when he was once imprisoned, scolds him for taking her virtue without making good on his promise to wed. When Macheath rides off, Mrs. Trapes suggests that Lucy betray him for the reward and give the money to her father. Later, during a tryst in a hayloft, Polly warns Macheath that her parents are mounting an ambush. Macheath escapes with Polly's help after a swashbuckling fight, then hides in a back room of a tavern, where he is unable to resist socializing with the prostitutes, whom he considers friends. However, prostitute Jenny Diver has been bribed by Peachum and Lockit to betray him, and with the help of her colleagues, Macheath is soon captured. From his jail cell, Macheath urges Lucy to steal the jail keys and set him free, promising to marry her in return, but then Polly shows up and he is forced to introduce the women to each other. During the night, Lucy steals the keys and releases him, but later Polly sneaks back and, finding Macheath gone from the cell, screams in anguish without thinking, thus drawing attention to his escape. Meanwhile, Macheath disguises himself in the stolen cape and gloves of a lord and slips into a gaming house to avoid making good his promise to unite with Lucy. However, the proprietor recognizes the cape and alerts Lockit and Peachum about the impostor wearing it. Back at the jail, Polly is accused of freeing Macheath and is locked in Lucy's room, where Lucy, after losing track of Macheath, attempts to drug her. When they hear the recaptured Macheath being returned to prison, Lucy and Polly proceed to Macheath's cell and demand that he choose between them. He refuses, as he will soon be hanged and sees no reason to disappoint either of them. The next morning, riding atop his coffin as it is carted through the streets to the gallows, Macheath waves farewell to the friendly crowd that has gathered to see him off. At the gallows, after kissing both Lucy and Polly goodbye, Macheath is blindfolded and awaits his fate, and the opera comes to its incomplete end. The real Macheath, who is still in the jail, protests that he should not have to hang twice. After pondering the complaint, the beggar agrees and yells for Macheath's reprieve. The rest of the prisoners join in the chant and mob the turnkey, who comes to investigate the ruckus, allowing Macheath to escape. The highwayman steals a horse from the cart containing his coffin and when safely out of London, sings that his freedom has been returned because of a beggar's opera.
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