Love and the Frenchwoman… what else is there to add?

“All Women are beautiful when they are loved. They are made to be loved more than to love. ”
Sacha Guitry
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This is the end quote from the movie, Love and The Frenchwoman that I just rented from Netflix. It is a great movie to watch if you want to understand where French woman comes from and the essence of their femininity.  There are some long winded moments -or perhaps it is the slow rythm of the 60′s movie that with regret I am not used to anymore -so think of something sexy to do if that might be your case… like knitting. I manage to find a video to give you a taste of how French Men seduced Married Women back then and well how Married Women responded to their offers… The text is really juicy so find a French friend to translate for you if you don’t speak French or rent the movie!

By the way the movie is also worth watching to for a lesson in French elegance.

Here is the synopsis by Hal Erickson, All Movie Guide:

“Love and the Frenchwoman (La Francaise et L’Amour) concentrates on the nature of love by illustrating seven separate aspects of the emotion.

In “Childhood,” 9-year old Pierre-Jean Vaillard suffers a traumatic experience when he takes his parents’ “cabbage patch” theory of conception too literally.

In “Adolescence,” a little girl (Annie Sinigalla) constructs an elaborate fantasy world on the occasion of her first kiss.

“Virginity” is a study in frustration, as betrothed couple Valerie Lagrange and Pierre Michel agonizingly await their wedding-night consummation of their ardor.

“Marriage” finds a union ending almost before it begins as a pair of newlyweds (Marie-Jose Nat and Claude Rich) bicker all the way to their honeymoon rendezvous.

“Adultery” allows husband Paul Meurisse the opportunity to calmly provide an object lesson to his wife’s lover Jean-Paul Belmondo.

In “Divorce”, a couple (Annie Girardot and Francois Pierer) find that it’s impossible to have a “civilized” breakup.

And in “A Woman Alone,” bigamist Robert Lamoreaux meets his Waterloo in the forms of Martine Carol and Sylvia Montfort.”

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