Conciliatory treatment of the political factions in post-WWII France (collaborationists, Communists, fence-sitters in between), taking its attitudinal cue from the "benevolent indifference" of Philippe Noiret's widowed teacher: "I love the rain as much as the sun." The original Marcel Aymé novel was not far removed from the actual period, but the series of self-recriminating films of the post-Sorrow and Pity period has revitalized its relevance. Claude Berri's calm, detached camera (Renato Berta, cinematographer) fits in well with the overall strategy, as well as tones down some over-the-top acting by Gerard Depardieu as a bistro owner with poetic inclinations. Michel Blanc, Jean-Pierre Marielle, Florence Darel. (1991) — Duncan Shepherd
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