Sexylocher Masterful Movie

Claysaba Excellent, Without a doubt!!

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

FilmCriticLalitRao In the history of French cinema, "La Meilleure Façon De Marcher" is considered an important film for two main reasons. Firstly, it is the best film directed by French director Claude Miller who has made extremely personal films about his protagonists: young and old alike, who show tremendous intellectual growth in order to emerge victorious despite facing tough personal problems. He was inspired by the giant of Swedish cinema Ingmar Bergman who once remarked that it is after having faced humiliation that a person gets the chance to be mature in life. This film is highly authentic as it is true to life in its depiction of events which happen both in a camp setting as well as in an educational setup. One has to simply watch one of his film better films "L'Effrontée" starring Charlotte Gainsbourg in order to comprehend how close he places himself in order to understand the tough world of his protagonists. Secondly, this is an ideal film for learning more about famous French actor Patrick Dewaere who has excelled in anti hero role. The best way to walk is entertaining in its own manner while revealing a straight relationship angle involving an oppressor and his oppressed victim. As there is a free exchange of feelings and sentiments between these two persons, one gets the feeling that there is some sort of mutual appreciation for each other despite some simmering tension. From this film, it has been established without doubt that apart from the greatest "God" of French actors Monsieur Jean Gabin, if there is an actor who displays tremendous sense of screen presence and a range of diverse performances in French cinema then it is Patrice Dewaere who has won innumerable hearts with his films. In 'La Meilleure Façon De Marcher", one can retain his attitude of meanness with serenity. It is a shame that some so called established critics have failed to correctly assess this film's qualities as one of them has observed that this film suffers from a weak end which is utter non sense as it is a perfect device to depict two different time periods in which the film's protagonists have lived. One can conclude this film's assessment by stating that it shows that the best way to walk in any situation is to put best foot forward. It also depicts that one can tell the truth but have to be ready to pay the prize for doing it.

Armand In a holiday camp the dispute between two instruction. The first- the classical virile image: brutal, sure-footed, sarcastic and charming. The second- unobtrusive, delicate,responsive, gentle and in womanhood kind. An imprudence of powerful hero is the beginning of a subtle and ambiguous fight. The victim is easy prey and the instruments are not little. But, in a strange scene of party, the domination is for both same overwhelming, it is a form of captivity in the other's image. And not about homosexuality, a cruel game in fall or about a good moral can talks. It is a basic rule of any relation. Of any admiration/competition gesture, of any summer who is not only a vacation's time.The merit of Claude Miller is to suggest the deep desire who lives in same relation. To define the behavior of an accidentally master and his obvious fear for the victim's acts. In same time, the film is a beautiful pledge for tolerance, for self understanding thanks to respect for the other. A movie about difference and the limit of common racism. A anti-macho film. But, before the moral, a nostalgic word about lost world.Patrick Dewaere is gorgeous in his character. Every shade of acting is subtle expressed, with precision and interesting art.So, in his memory, like remember of his lost, I saw " La meilleure facon de marcher" at a homage for a great actor, too.

writers_reign From my point of view Miller is uneven; I disliked for example his tampering with Checkhov in La Petite Lili as much as I enjoyed his Betty Fisher and/or Garde Vue. Now thirty years old The Best Way To Walk probably qualifies as 'middle period' and is no worse for that. There will be those who will see echoes of Ben Gazzara's Jocko de Paris (End As A Man) and point to the similarities between a France Holiday camp and an American Military Academy albeit such comparisons don't really hold water. Irwin Shaw was writing about Summer Camps at around the same time, notably in Voices Of A Summer Day and he was, of course, an ex-counsellor himself but Claude Miller has been reasonably creative in his portrayal of a warts-and-all boys camp in rural France and a particularly intense love-hate relationship destined to end in tears. The acting is uniformly excellent though both leading actors were unable to realise their potential - one died prematurely the other was unfairly typecast as a 'drag queen' and had to watch the work dry up. Released in 1976 this was a refreshing antidote to the left-over pretentiousness of the New Wave and arguably one of the key films of 1970s French Cinema.

dbdumonteil Claude Miller's most important work is today stronger than it was in 1976.It's a must ,the French cinema at its most ambitious ,at its deepest,at its best.And nothing intellectual,nothing to do with the nouvelle vague pretentiousness,"la meilleure façon de marcher" is accessible to all those who have eyes and ears.It features one of the strongest actors confrontations which can be seen on a screen:the sadly missed Dewaere and the subtle Bouchitey literally live their part,they are so real we have the very rare feeling of knowing them intimately.So intense Bouchitey's performance was that afterward he did not get the roles he did deserve:the directors stayed with the picture of a "drag queen" ."La meilleure façon de marcher" pits the virile macho boy against the intellectual sensitive guy.It brings out the mechanics of the humiliation.It deals with the demanding subject of our "skeletons in the closet" ,our hidden odd habits ,all that we want to hide from the outside world.It would be too simple to consider Philippe's one (dressing up as a woman)as a very rare occurrence ."I'm sure I could find something in your room" he screams to Marc,who has discovered his secret and then makes him his punching bag.In a world in seclusion such as a boys holiday camp in 1960,where women are absent (with the exception of Philippe's fiancée,who only appears in the second part),there are secrets beyond any door:from the children who hide a pornographic paper under a Mickey Mouse comic strip to the epileptic counselor who 's got dirty pictures under his pillow.And the ones wholook "normal",like the hairy Marc,are they as "straight" as they seem?Marc is probably in love with Philippe and as he cannot bring himself to take the plunge ,he humiliates him to death .Hatred rises ,reaching unbelievable heights,culminating in this unbearable scene when Marc forces Philippe to eat his own vomit.The dialog is close to perfection:full of allusions,of threatening sentences,of veiled accusations;and what is left unsaid is all the more disturbing.Most of the time,we really feel ill-at -ease.That's why Claude Pieplu's part is so necessary:a comic relief ,his suggestion box is irresistibly funny.Deprived of these hilarious sequences,the movie would be desperate.But Claude Miller wanted his demeaned characters to rebel;the first one in the pool where the one of the counselors says f..... you to the director.But the best comes when Philippe,in his woman's dress (A Spanish dancer) invites Marc ,dressed up as a toreador ,to dance.You should notice that in Marc's room,there was a poster of a toreador fighting a bull."What's making me itch,is making you itch too!" he cries out as his persecutor pretends to find it funny but in fact has to force himself to laugh.Miller's intelligence shines in the last sequence too when he puts his characters back in "normal " life.The two "enemies" act as if nothing happened .Their behaviour stems from the establishment which does not know deviancy .Now that Philippe exists socially speaking,he's respectable ,even if he does not plan to get marry -as Marc is -,he's no longer a victim.Generally you find punching bags in schools ,holiday camps or barracks,in places where frustration leads to search for someone to spit at (generally people who do not like sports,like in Minnelli 's 'tea and sympathy ",which certainly influenced Miller)).A film that cannot be praised too highly.