Un tournage à la campagne (1994) - full transcript

A FILM SHOOT IN THE COUNTRY
June 27, 1936 - August 15, 1936

Excerpts chosen by Alain Fleischer

from unused footage
of Jean Renoir's A Day in the Country

This footage was registered in April 1962
at the Cinémathéque française

by producer Pierre Braunberger.

Take 1.

Go on, kids. Action/!

That's good.

- Scene 2, take 2.
- Action/!

- Nature is so beautiful!
- And big!

If only we had fishing rods!



Mr. Dufour!
What's that over there?

That must be
the new Fort de Nogent.

And over there,
the Fort de Rosny.

We'll pass between two forts.

Stop that, Cyprien,
you’re scaring me.

What do you expect, dear?
We’re in the fortified camp of Paris.

One must look
truth in the face.

What's that lovely green forest
in the distance?

That's Rosny Woods,

where the Prevert brothers
go to hunt.

- Was there a battle there?
- Of course not!

The Prevert brothers
go hunting there!

Oh, yes!
Bismarck, the Prussians!

That’s enough.



Your poor mother’s
hearing is getting worse!

I'd love to bring home a fish.

Giddyap!

- Scene 2, take 7.
- Get ready!

- Nature is so beautiful!
- And big!

If only we had fishing rods!

Mr. Dufour!
What's that over there?

That must be
the new Fort de Nogent.

And over there,
the Fort de Rosny.

We'll pass between two forts.

- Cyprien, you're scaring me.
- What do you expect, dear?

We’re in the fortified camp of Paris.
One must look truth in the face.

What's that lovely green forest
in the distance?

That's Rosny Woods,
the hunting grounds of the Prevert brothers.

- Was there a battle there?
- Of course not!

The Prevert brothers
go hunting there!

Oh, yes!
Bismarck, the Prussians!

We'll write it down for you.

Your poor mother’s
hearing is getting worse!

I'd love to bring home a fish.

Rue des Martyrs seems so far away!

cut!

Scene D, shot 2, take 1.

Get ready. Action!

Stop!
-Cut.

Slate.

Scene D, shot 3, take 2.

Action! Go!

- They’re biting!
- Lots of fish?

Some say there aren’t many,
but not if you know how to catch them.

Mr. Dufour!

This looks like the perfect spot.

There’s even a restaurant.
Let’s have lunch.

Do you agree, Mrs. Dufour?
- Absolutely.

The road passes under the bridge.
we'll have to go around.

Giddyap!

Quickly! Let's do it again.

RESTAURANT POULAIN.
FISH SPECIALTIES.

RECEPTION ROOMS, SWINGS.
LUNCH: 2 FRANCS 50.

- Shot 6, take 3.
- Wait for my signal.

Go ahead.

We've arrived.

Thanks.

Now you stop that, Mr. Dufour!

- It's the country air!
- Hello!

- Have any fishing rods?
- No, we don't.

- Don’t people fish?
- They bring their own gear.

They don’t rent fishing poles!
Let's go somewhere else.

I'm staying right here.
It's too hot on the road.

Quite right, my dear.
We'll eat here.

Send out the chef.
- Right away, sir.

Are you happy we’ve arrived,
Grandma?

We'll get some fresh air
and have a nice lunch!

- No, no! I'm hungry.
- Yes.

Henriette, don’t pester her.

I’ll park the cart in the shade.
She can get off there.

Let’s go, horses.

Scene E, shot 1, take 5.

Don’t start yet.
We need to see the ducks.

Okay, action!

- They’re from a dairy.
- What do I care?

Yes, they're in a milk cart.

- What kind?
- A family.

Just my rotten luck!

Might as well go home.

- Cut It's no good.
- I got off to a bad start —

Go, buddy.

- They’re from a dairy.
- What do I care?

Yes, they're in a milk cart.

- What kind?
- A family.

Just my rotten luck!
Might as well go home.

Then why don’t you?

- If at least there were women -
- There are three women.

- Three?
- Here’s the boss.

- They want lunch, Mr. Poulain.
- Let’s get to work.

Cold water for your absinthe,
Mr. Henri.

Thanks, Mr. Poulain.

Shall I fry up the fish
you caught this morning?

No way, I'm sick of fish!
How about you?

Since the factory opened,
the fish taste like motor oil.

cut!

Shot 2, take 1.

Since the fish taste like motor oil.

- Feed them to the cats?
- Feed them to the Parisians. They'll love it.

Good idea!
Thanks, Mr. Henri.

The customers are waiting.

Fine. Here I go.

cut!

Scene E, shot 3, take 1.

Get ready.
Action.

They’ll want a picnic.
Parisians always do.

If this keeps up, we’ll have to go
even further to get some peace.

Pity, we have a fine time here.

Nice people, close to Paris,
we do as we please.

Poulain wouldn’t even mind
if we swam in our underwear.

Cut. Why, Marguerite?
I didn’t cue you to stop.

You were magnificent in that shot!

Shot 3, take 3.

Get ready.
Action!

They’ll want a picnic.
Parisians always do.

If this keeps up, we’ll have to go
even further to get some peace.

Pity, we have a fine time here.

Nice people, close to Paris,
we do as we please.

Poulain wouldn’t even mind
if we swam in our underwear.

- What about the local gendarme?
- A pal. We had drinks two nights ago.

- Don’t trust him.
- Parisians are like —

- Start over.
- I forgot this.

Shot 4, take 3.

Get ready. “Buddy.”

Buddy -

Start over.

Buddy, Paris —
Damn.

Parisians are like germs.
Let one in —

Concentrate, buddy.
Get ready.

Action!
- Parisians are like germs.

Let one in, and a week later
the place is crawling with them.

- What shall we do today?
- Escape.

Row up the river.

By the time we get back,
they’ll be gone.

Cut!

Scene E, shot 4, take 2.

Get ready.
Action!

Parisians are like germs.

Let one in, and a week later
the place is crawling with them.

What shall we do today?

Escape. Row up the river.

By the time we get back,
they’ll be gone.

Very good.
Bravo!

Shot 105, take 4.

Get ready.

“Escape. Row up the river.

By the time we get back,
they’ll be gone.”

It's too hot to row.

Stop, you fool!
You never could mix absinthe!

Cut!

Shot 5, take 3.

Get ready. Action!

We'll row up the river,
and by the time we get back, they'll be gone.

It's too hot to row.

Stop, you fool!
You never could mix absinthe!

Let’s check out the dairymaids.

- Cut! That one’s really good.
- It's good for me.

Scene F, shot 1, take 5.

Got any feed for the horse?

Of course.
If all we had were bicycles —

- Want a push, Henriette?
- I prefer to do it on my own.

Nice place you’ve got here.
Very modern.

Did you see the chain-link —

Scene F, shot 1, take 1.

Got any feed for the horse?

Of course.
If all we had were bicycles —

- Want a push, Henriette?
- I prefer to do it on my own.

Nice place you’ve got here.
Very modern.

Did you see
the chain-link fence?

That’s progress!

It's amazing what
hardware stores sell today!

That’s my line.
I've got a big shop in Montmartre.

That’s chain-link from Belier,
near Bastille.

They starting making it last year.

I thought it was English-made.

English?

Let me tell you, in hardware,
we won't be beaten by England!

Where’s your patriotism?

What shall I cook for you?
A chicken?

Chicken.

- Cyprien!
- What?

- Give me a push!
- Excuse me, I have to go push my wife.

Coming!

Scene F, shot 2, take 2.

Coming, dear!

There you go.

- Could we have fried fish?
- Nothing could be easier.

How lucky we are!
Fried fish.

- You are on the banks of a river.
- I'd rather catch my own.

We’ll have fish, rabbit fricassee,
salad and dessert.

Give me a big push.

Bring us two liters of white wine
and some red from Bordeaux.

Can we have lunch on the grass?

We didn’t come to the country
to eat inside!

Here we go!

- We can cut.
- cut!

Scene F, shot 4, take 1.

Action!

Stop, I'm begging you!
That's too high.

Are we eating here, son-in-law?

- It's ordered already.
- Are we eating here?

It's ordered already.

We're leaving already??

We'll write it down for you.

- Can we go down to the river?
- Right away.

I’ll unbutton my waistcoat.
Let’s go, buddy.

Thank you.

Scene F, shot 9, take 6.

Marguerite.

Pate and white wine —
how’s that sound?

Don't disturb us.
we're very busy.

Start over.
It's “headcheese.”

Cut.

Scene F, shot 9, take 7.

Marguerite.

Headcheese and white wine —
how’s that sound?

Don't disturb us.
we're very busy.

He’s in an important meeting.

I hope you chilled the wine.

- Look.
- Good girl!

Wonderful invention, the swing.

It promises a lot,
but you can’t see a thing.

Only because she’s standing.

If she’d sit, the view
would be much more interesting.

cut!

Thank you.
/ think it's good.

Shot 5, take 1.

Shot 13, take 3.

Action!

I think I'll go talk to them.

I'm sure they'd love to meet us.

Dumb move. You'll scare them,
they’ll hide behind their men,

and you'll end up
playing hopscotch with the milkman.

- Is that so?
- I have your best interests at heart.

Personally,
such affairs don’t appeal to me.

Yes, we know.
You're looking for eternal love.

Cut.
That was excellent!

- Take 1.
- Don't start yet.

Action!

Yes, we know.
You're looking for eternal love.

What do you mean?

Cut.

Shot 14, take 2.

Get ready. Action.

Yes, we know.
You're looking for eternal love.

What do you mean?

You stayed with Hortense for 15 months.

She was very beautiful.

But dumb!
I'd have dumped her after a week.

She didn't need to be intelligent.

And you'd still be with Lea
if she hadn’t married poor Gustave.

I can’t help it.
At heart, I'm a family man.

Whores bore me,
society girls are even worse,

and the others are too dangerous.

Very good. Bravo!

Slate.

Scene F, shot 14, take 3.

Wait.

Action!

Yes, we know.
You're looking for eternal love.

What do you mean?

You stayed with Hortense for 15 months.

She was very beautiful.

But dumb!
I'd have dumped her after a week.

She didn't need to be intelligent.

- Stop.
- Cut

Two things:
You it the cigarette too early,

ruining continuity.

Second, you said, “to have, to be.”

- That's redundant.
- Double verb!

“She didn’t need to be intelligent.”

Lets try it again.

Scene F, shot 14, take 4.

Wait. Let Marguerite sit down.
“Yes, we know.”

Yes, we know.
You're looking for eternal love.

What do you mean?

You stayed with Hortense for 15 months.

She was very beautiful.

But dumb!
I'd have dumped her after a week.

She didn't need to be intelligent.

And you'd still be with Lea

if she hadn’t dumped —
married — poor Gustave.

Cut.

Scene F, shot 14, take 5.

Get ready.

Begin, Brunius!

- Well -
- Action.

“Yes, we know.”
- Yes, we know.

You're looking for eternal love.

Stop. Continuity error.
He wasn’t holding the cigarette.

Cut.

Shot 14, take 6.

Everybody ready?
Action.

Yes, we know.
You're looking for eternal love.

What do you mean, pal?

You stayed with Hortense for 15 months.

She was very beautiful.

But dumb!
I'd have dumped her after a week.

She didn't need to be intelligent.

And you'd still be with Lea
if she hadn’t married poor Gustave.

I can’t help it.
At heart, I'm a family man.

Whores bore me,
society girls are even worse,

and the others are too dangerous.

Cut! That was excellent.

Get ready. Here’s your eyeline.

- The others are too dangerous.
- You're afraid of the pox.

Very good. Cut!

Scene F, shot 16, take 4.

Ready? Action.

Whores bore me,
society girls are even worse,

and the others are too dangerous.

You're afraid of the pox.

Cut.

Scene F, shot 18, take 2.

Give him time to exit. Action.

What would you do?

I'd invite her for a boat ride.

We’d land on the island,
or by the dam,

and once safely alone,

time for some hanky-panky!

Cut!

Take 3.

Give him time to exit.
Begin, Brunius.

I'd invite her for a boat ride.

We’d land on the island,
or by the dam,

and once safely alone,
time for some hanky-panky!

What if she gets pregnant?

Cut.

Take 5.

Begin, D’Arnoux.

What if she gets pregnant?

If babies were born
every time you fool around...

the world would be —

- cut!
- What a pity! It was good.

Action.

What if she gets pregnant?

If babies were born
every time you fool around...

the world would be overpopulated.

Cut.

Scene F, shot 21, take 1.

Everybody ready?
Action.

If babies were born
every time you fool around,

the world would be overpopulated.

What if she fell in love with you?

- Cut.
- Cut

Shot 22, take 2.

Get ready. Action!

What if she fell in love with you?

It'd prove she has excellent taste.

Cut. Very good.

No, don't use it

Get ready, but don't start yet.

Begin, Brunius.
- It'd prove she has excellent taste.

Stop kidding around.
/ can't picture you in a dairy.

You'd never see her again,
and it might ruin her lite.

What a shame.
It's not worth it, buddy.

Shot 24, take 1.

Action!

Mother! I'm going to try
to go all the way around!

Stop, you’re scaring me.

Why? It's not dangerous.

Get off the swing.
we'll find your father.

She seems like such a nice girl.

I think she’s fantastic.
Properly dressed, she’d be incredible.

Thank you.

Shot 25, take 2.

Action.

I've made you an omelet with tarragon.

- Stop.
-Cut.

Shot 26, take 3.

Action.

Not eating your headcheese?

No, chubby.
Give me some omelet.

Seen the Parisians?
The wife’s really something!

- You mean the daughter.
- No, she’s too skinny for me.

You're interested in the mother?

You bet!
That’s what I call a woman.

Lots to keep you busy!

A classy dresser and fine manners too.

- You’re making my mouth water.
- I'm too busy.

But in your shoes,
I know what I'd do.

He’s worse than a kid.

cut

Scene F, shot 26, take 11.

Not eating your headcheese?

No, chubby.
Give me some omelet.

I had a bad start.

You didn’t tell him to begin.

cut

Not eating your headcheese?

No, chubby.
Give me some omelet.

Seen the Parisians?
The wife’s really something!

- You mean the daughter.
- No, she’s too skinny for me.

You're interested in the mother?

You bet!
That’s what I call a woman.

Lots to keep you busy!
A classy dresser and fine manners too.

- You’re making my mouth water.
- I'm too busy.

But in your shoes,
I know what I'd do.

He’s worse than a kid.

- Cut
- Let it roll.

Take 1.

Get ready.

Marguerite.

He’s worse than a kid.

The mother is starting to interest me.

Everything is working out perfectly.

Shall we approach them separately
or together?

Women are like minnows.
They move in groups.

- Thank you.
- Cut

Take 1.

Get ready, D’Arnoux.

The mother is starting to interest me.

Everything is working out perfectly.

I'm not afraid of responsibilities,

so I'll take the girl, with all the risks:
kids, ruined lives.

You take the mother.
Your scruples don’t apply.

We'll have a fine afternoon!

Shall we approach them separately
or together?

Cut!

- Take 3.
- Get ready.

Shall we approach them separately
or together?

Women -

- Stop.
- cut!

- Shot 27, take 5.
- Action.

Women are like minnows.
They move in groups.

Shall we approach them separately
or together?

Why are you still rolling?
Why haven’t you cut?

Quite right. Cut.

Scene G, shot 0, take 1.

Kitty!

Could we have our lunch here?

Under the tree will be perfect.
I hope there are no ants.

No ants, but lots of cherries.
Could we eat some?

We ought to ask permission.

Thank you.

Scene G, shot 1, take 1.

Mr. Dufour!

Are you nuts?
You'll scare away all the fish.

See that stump?
- What stump?

- Stop. Thank you.
- Cut

Scene G, shot 2, take 1.

Are you nuts?
You'll scare away all the fish.

See that stump?
- What stump?

The one I'm pointing at.

Underneath it, in the shade.
-Yes?

A perfect hideout for predatory fish.

I'll bet there’s a fat pike under there,

waiting to pounce on its prey.

Scene G, shot 2, take 4.

Wait for him to exit.
Go ahead, guys.

Are you nuts?
You'll scare away all the fish.

See that stump?
- What stump?

The one I'm pointing at.

Underneath it, in the shade.
-Yes?

A perfect hideout for predatory fish.

I'll bet there’s a fat pike under there,
waiting to pounce on its prey.

A pike?

They eat their own weight
in fish every day.

That’s why they’re called
“freshwater sharks,”

and because they’re difficult to catch.

With one bite,
they snap the thickest line.

Could they bite off a finger?

Not off, but down to the bone.

Their mouths are studded with teeth.

Thank you. Cut!

Scene G, shot 4, take 1.

Wait a bit.

Action.

Could they bite off a finger?

Not off, but down to the bone.

Their mouths are studded with teeth.

Rivers are filled with strange things.

That’s for sure.

Nature has not yet revealed
all her secrets.

Look!
- A pike?

- No, a chub.
- A shrub?

Not a shrub, you fool!
A chub!

You catch them with cherries.

- It's tiny.
- It's not that small.

If only we had fishing rods.

Thank you. Cut.

Shot 1, take 2.

Action.

Look at this lovely golden caterpillar.

Cut.

Shot 2, take 1.

Go ahead.

Don’t touch it. You'll get a rash.

Stop.

- Slate.
- Scene H, shot 4, take 3.

Sylvia, don’t begin yet.

On my signal.

Not yet.

Begin, Sylvia.

Look at this lovely golden caterpillar.

Don’t touch it. You'll get a rash.

I's not dirty.
All it eats is grass.

How amazing the country is,

dozens of tiny things under each blade
of grass, living and moving.

That’s nature.

I wonder if those little creatures
feel joy and sorrow like us.

Of course not.

They’re not people.
Besides, they’re too small.

Still, they are born and die like us.

True.

I wonder how caterpillars have babies.
- They don't.

That one, so fat and golden,
will surely become a lovely butterfly.

What strange, funny things.

You know, we —
- Thank you. Cut.

Shot 5, take 4.

Redo the slate.
We weren’t recording.

Redo the slate.

Second slate. Scene H, shot 5, take 4.

Get ready, Sylvia.

Begin.

That one, so fat and golden,
will surely become a lovely butterfly.

What strange, funny things.

Just like us!

When you were young —

Stop.

Scene H, shot 5, take 9.

Cheerfully, Marken!

That one, so fat and golden,
will surely become a lovely butterfly.

What strange, funny things.

Just like us!

When you were young —

I mean,
when you were my age,

did you often visit the country?

No, not very often. Like you.

Did it make you feel all funny,
like I feel today?

Funny?

Good!

Shot 6, take 1.

Funny?

Thank you. Cut.

That was very good.

Shot 6, take 3.

Get ready.
Action!

Funny?

Yes.

An immense tenderness for it all —

for the grass —
- “Did you feel -"

Do it again.

Scene H, shot 6, take 2.

Action.

Funny?

Yes.

Did you feel
an immense tenderness for it all —

for the grass, the water, the trees?

A vague sort of yearning.

It starts here, then it rises.

It almost makes me want to cry.

Tell me, Mother,

did you feel like that
when you were young?

Dear child, I still feel like that

but I'm more reasonable now.

Cut. Thank you.

Shot 7, take 2.

Get ready. Action!

Come and see!
There are some fantastic boats.

Such funny boats!
- Boats! Come on, Mother!

- Henriette, your hat!
- Leave it. We'll picnic there.

Oh, my skirt!
There’s so much dirt in the country!

They're skiffs, Anatole.

I know all about them.

For me, it's excellent.

Action!

Since you agree to go “fishing,”

let’s discuss our methods.

Casting would be the most sporting.

Casting.

With live bait, dead bait
or a lure?

Ladies require a lure, obviously.

- Shall we fish from the shore or a boat?
- A boat is more elegant.

Cut.

Shot 2, take 1.

Get ready.
Action!

Thank you. That was excellent!

Scene I, shot 3, take 5.

Redo the slate.

Second slate.
Scene I, shot 3, take 5.

Action!

For the mother, it's best
to swoop down like an eagle.

First, we need a lure.

You’re not very alluring.

- Here’s the bait.
- Let me see that.

I can imagine her
pinning on these flowers this morning.

Give it to me.

- Why?
- You'll see.

If you say so.

Thank you. Cut.

Shot 3, take 7.

Action!

For the mother, it's best
to swoop down like an eagle.

First, we need a lure.

You’re not very alluring.

- Here’s the bait.
- Let me see that.

I can imagine her
pinning on these flowers this morning.

Give it to me.

- Why?
- You'll see.

If you say so.

Stop.

Shot 4, take 4.

Get ready. Action!

She loves me, she loves me not,
she loves me, she loves me not.

Must we do this?

It's so nice
to lie in the grass and smoke.

For 15 minutes,
then it gets boring.

The wind’s veered to the west.
The clouds are chasing each other.

Drat all these flies!

Repeat the line.

Scene K, shot 3, take 7.

Action.

The Parisians are going to get soaked.

You and your chain-link!
You'll fence in everything.

- Take 1.
- Don't start yet, Marken.

Tell me when you're ready, Claude.

The frame is good?
Marken, begin!

Is that a skiff? It's so pointy.

- It's built for speed.
- Could we go for a ride?

- I'm too scared.
- No need to be scared.

Their speed makes them very stable.

- I wouldn’t get in if you paid me.
- I'm not afraid.

- You must learn to swim first.
- Can you swim, Mr. Dufour?

Of course!

I used to, but I've forgotten.
I’m too busy now.

- What’s this for?
- It's called an oarlock.

Some people call them “dames.”

Rowers never set out
without their dames!

Funny, right?

Cut. Congratulations.

Shot 2, take 5.

Action.

I's simple.

With a boat like that,

I bet I could hit 15 miles an hour
without breaking a sweat.

Cut.

Shot 3, take 1.

Wait, Gabriello.
He’s still in frame.

You can begin! Stay crouched.

Fifteen miles an hour
without breaking a sweat.

I'd love to go for a ride.
Couldn’t we rent one?

No, dear. Such fine skiffs
must belong to the customers.

Besides, it’s getting cloudy.

I shouldn’t be surprised
if we had a squall.

- A squall?
- Don’t you know anything?

A squall is a nautical term
for a storm, you ignoramus.

Lunch is ready.
Shall I serve it?

- If it's going to rain, let's eat inside.
- I want to picnic under the cherry tree.

- Well, Mr. Dufour?
- Your daughter is right.

We came to get some fresh air.

As I was telling Anatole,
we don’t have enough oxygen in Paris.

That's the truth.

Cut. Thank you.

- Slate.
- Scene J, shot 4, take 4.

Get ready. Action!

- Outside or inside?
- Outside, under the cherry tree.

- As you wish.
- May we eat the cherries?

Of course.

- Anatole!
- Yes, Henriette?

Tell Grandmother that lunch is ready.

Bring our parasols in case it rains.

Anatole!

Come here.

Look at this.
In Tonkin,

all the houses
have roofs like this.

They're called “grass huts.”
- So it’s grass?

You ignoramus!
Grass huts!

Doesn’t he know anything?

Cut!

Scene J, shot 5, take 1.

Wait.

Action!

- They stole our spot.
- They probably own those boats.

They're free to sit where they choose.

We'll find another spot.
- Yes, but where?

- By the jetty.
- Too many nettles.

- Anywhere. On the grass.
- By the bridge?

- Yes, sir! By the bridge.
- I preferred the poplar tree — cherry.

Cut.

Scene J, shot 5, take 3.

Action!

- They stole our spot.
- They probably own those boats.

They're free to sit where they choose.

We'll find another spot.
- Yes, but where?

- By the jetty.
- Too many nettles.

- Anywhere. On the grass.
- By the bridge?

Yes, sir! By the bridge.

- I preferred the cherry tree.
- Go get your hat.

- Slate.
- Shot 6, take 2.

Get ready.
Everybody ready?

Action!

That’s good. Thanks!

- Take 1.
- Get ready. Go.

- Did you lose your hat, miss?
- Thank you.

“You're too kind.”

- Did you wish to picnic?
- Yes.

I bet you wanted that spot for the cherries.
I’m warning you, they’re not very good.

It's all yours.

Thank you.

Scene J, shot 8, take 1.

Get ready. Action!

Thank you, sir.
You're too kind.

Thank you. Cut.

Shot 10, take 1.

Get ready.

Action.

It's all yours.

- We’re not disturbing you?
- On the contrary.

- You're too kind.
- Don’t mention it.

On behalf of the ladies,
I accept with gratitude. Thank you.

Thank you so much!

- Thank you.
- You're welcome.

Thank you!

Scene J, shot 12, take 1.

Get ready. Action.

What a fine spot!

Well, Henriette,
you got your cherry tree.

Such polite young men.
Obviously from good families.

They’re certainly not tradesmen.

Have a seat, Grandma.
Right here.

Okay. Thank you.

- Take 8.
- Action.

They've taken the bait,
but it's too early to reel them in.

They’ll swallow it hook, line and sinker.
- What?

Hook, line and sinker, idiot!
Don’t you know anything?

Technical terms bore me.

Wait till they’re hooked.

For a shopkeeper's daughter,
that girl has style.

Shot 14, take 2.

Action.

I'll bring the fried fish.

- Some white wine?
- Yes, I'm thirsty.

This is good stuff.

Stop. Thank you.
That’s enough.

Scene J, shot 16, take 2.

Get ready. Begin, madam.

- Are those the Prevert brothers?
- No, they’re boaters.

Yes, I knew the Preverts
when they were babies.

I thought the oldest entered a seminary.

Sure! We'll write it down for you.

Thank you. Perfect.

Scene K, shot 0, take 1.

Get ready. Action!

Cut.

Shot 4, take 2.

Go ahead, Marguerite.

- Can I get you anything else?
- No.

Thank you.

Shot 5, take 4.

Marken, go ahead.

Mr. Dufour...

how about a little stroll
in the woods?

I'm uncomfortable here.

Cyprien!

Remember last year
at Conflans-Sainte-Honorine...

when we got lost in the forest?

Good. Excellent!

Shot 6, take 1.

Get ready. Got the framing?

Go ahead, Marken.

I'm sure there are ants here.

No, Mother, you’re imagining things.

There’s one in my bodice.

Loosen the laces.

He’s driving me nuts!

Thank you. Very good.

Shot 7, take 2.

Thank you. Very good.

Scene K, shot 8, take 1.

Get ready. Action.

Anatole! Quit hiccuping!

Thank you. Very good.

Shot 9, take 1.

Kitty!

Cut.

Take 2.

Get ready. Give Jeanne’s line.

“Quit hiccuping!”

Thank you. That's it.

Shot 11, take 2.

Get ready.

Make him stop.
My nerves can't stand it!

Calm down.
We'll give him some water.

I’ll ask you to redo —

Scene K, shot 12, take 1.

Ready. Action.

Water?
All we have is wine.

Thank you.

Take 1.

Action!

Water?
All we have is wine.

If you were a man,
you'd find some water!

Perfect! Cut.

Shot 14, take 1.

Get ready.

“If you were a man,
you’d find some water.”

Anatole, don’t be ridiculous.

That came from the stomach.

To the kitchen. I'll handle this.

That’s it! Perfect! Thank you.

Shot 15, take 1.

Get ready. Action.

Where are you going?

To drown yourself in the river?

That’s all we need!

- Scratch my back.
- Like this?

Not there, more to the right.

That’s the spot.
What a relief!

That’s good. Thank you.

Scene K, shot 16, take 1.

- Wait. Is the kid still in frame?
- No, it's good.

Action.

- It's time to reel them in.
- If you like.

That’s it. Thanks.

- Slate.
- Scene I —

- Go ahead!
- Scene I, shot 1, take 3.

Action.

- Lace me up.
- I can’t. They're looking.

- What lovely weather.
- A bit muggy, isn’t it?

True.
Such heat isn’t normal.

- We’re in for a storm.
- May we join you?

Certainly.

Thank you.

Scene I, shot 2, take 1.

Get ready. Action.

- Mind if I smoke?
- I'm used to it.

My husband smokes like a chimney.

- You did well in coming here.
- Yes, the fish was delicious.

I meant it was well for us.

Poulain’s restaurant
lacks good company,

as we noticed over our drinks.

Imagine our delight to hear
some pretty Parisians had arrived.

- Such flattery!
- Not at all, madam.

Thank you. It's good.

Scene I, shot 4, take 2.

Get ready. Action!

Such flattery!

Not at all, madam.
I'm being quite sincere.

Men are all the same!

And you, miss, on the swing,

such grace and charm.

Absolutely delightful.

Wild horses couldn’t have
dragged me away.

- Do those pretty boats belong to you?
- Yes, miss. To both of us.

How about a boat ride?
Just the four of us, on the river.

It'd be great fun.
How about it?

Say the lines quickly.
There’s too much time between lines.

Oh, I almost forgot again.

Scene I, shot 4, take 4.

Get ready. Action.

Such flattery!

Not at all, madam.
I'm being quite sincere.

Men are all the same!

And you, miss, on the swing,

such grace and charm.

Absolutely delightful.

Wild horses couldn’t have
dragged me away.

- Do those pretty boats belong to you?
- Yes, miss. To both of us.

How about a boat ride?
Just the four of us, on the river.

It'd be great fun.
How about it?

Oh, yes!

Good. Very good.

Slate.

Scene I, shot 6, take 1.

Action.

We could row you over to the dam.
It's a beautiful spot.

Thank you. One more.

Scene I, shot 6, take 2.

Action.

Thank you. Excellent!
Print that one.

Scene I, shot 6, take 5.

Get ready. Begin, Brunius!

How about a boat ride?
Just the four of us, on the river.

- We could row — Damn it.
- Cut.

Shot 6, take 6.

Get ready. Begin, Brunius!

How about a boat ride?
Just the four of us, on the river.

We could row you over to the dam.
It's a beautiful spot.

Cut!

Shot 7, take 2.

We could row you over to the dam.
It's a beautiful spot.

Oh, yes!
Please say we can, Mother.

Good. Thank you.

Scene I, shot 9, take 4.

I don’t know if it's proper.

We might get caught in the rain,
and we need Mr. Dufour’s permission.

- The sun's out again.
- Yes, it is.

Shall I ask Father?
- Yes.

Cut.

Scene I, shot 10, take 2.

Yes, it is.

Shall I ask Father?
- Yes.

Take the gentlemen with you to explain.
It's more proper.

- Yes, Mother.
- Henriette!

Just a moment, please.

Lace me up.

What fine young men.
And such manners.

- Cut. Let’s do one more.
- Cut

Scene I, shot 11, take 2.

- You seem to be poaching in my waters.
- What if I am?

Fine. Go with her to find Daddy.
I'll get the fishing rods.

- You're smarter than you look.
- I'm smarter than you think.

We'll see.

I's good for me.

Sound rolling.

Scene I, shot 111, take 1.

Begin, DArnoux.

- Do you often visit the country?
- Once a year. And you?

- Every evening.
- You're lucky.

- Come more often if you enjoy it.
- It's impossible.

- Why?
- We have no time for trips.

My parents have a business to run.
- Not so scared of responsibility now?

- I'm getting used to it.
- Responsibilities? You have a business?

Yes, my friend and I are partners.

We don't always agree
and sometimes trip each other up,

but it all works out.

That’s how it is with partners.
Father prefers to work alone.

-cut!
-Cut.

Scene I, shot 12, take 3.

Get ready. Action!

It made my hiccups stop.

What did I tell you?
Water never fails.

May Mother and I go boating
with these two gentlemen?

- On the river?
- Yes. In skiffs.

- Skiffs?
- If you like fishing, try these.

Fishing rods!

Thank you.
It's good.

Scene I, shot 113, take 2.

Fishing rods!

Fishing rods!

Once more.

A bit slower.

Cut.
- Cut

- Shot 13, take 1.
- Get ready. Action!

Fishing rods!

- You'll lend them to us?
- Certainly. Here’s some worms,

and some rotten cheese.

Chub adore it.

What do they prefer:
cherries or rotten cheese?

You're hopeless, Anatole.
Chub eat everything.

This is our lucky day,
isn’t it, Mr. Dufour?

I told you we’d return to Paris
with fish to fry.

I don’t know how to thank you.

Such kindness and generosity

are the mark of true gentlemen.

- Well, Father?
- What?

- Can we go?
- Where?

- On the skiffs.
- On the skiffs?

With these gentlemen?
Certainly.

Perfect. Thank you.

Scene I, shot 14, take 4.

Action.

With these gentlemen?
Certainly.

Coming, Anatole?

I almost forgot —

Where is the best fishing?

Follow the riverbank
to the stunted willow.

Poulain throws his scraps there.
It's like a chub party.

We'll join their party.
Thanks again.

I's only natural.

And that’s that.

- Coming, Anatole?
- I'm caught on the hook!

Look at that idiot.

You'll put my eye out
with that fishing rod!

- Let’s enjoy your freedom.
- Hurry, it's getting late.

Thank you.

Rolling.

Scene M, shot 2, take 1.

Mother, Father agreed!

You'll make me fall!

You must be more careful with ladies.
They’re delicate.

That’s why we love them.

Excuse me.

Cut.

Shot 1, take 1.

Action!

- Cut
- Good Lord!

Scene M, shot 4, take 1.

- How shall we arrange it?
- It's arranged itself.

- I'm a good sport. I'll take the mother.
- Thanks.

Cut!

We're rolling.

Scene M, shot 5, take 1.

Action.

You first, madam.

I'm so frightened.

I's not dangerous, is it?

I put myself in your hands,
trusting as a child.

Have no fear.
I’ll protect you like my own daughter.

It's a pity the boat is so narrow.
- Why?

You could’ve sat next to me
and we’d row together like lovebirds.

Oh, stop it!

I wouldn’t dare.

In just your undershirt,
you look almost naked.

Oh, my God!

-Cut.
- It's cut

- Get ready to go.
- Slate.

Scene N, shot 0, take 2.

Careful. Not yet, buddy.

“Where is your family’s business?”

Where is your family’s business?

Rue des Martyrs.

- Nice area. Not too crowded.
- I prefer here.

If your parents are too busy,
come on your own.

Your mother can put you on the train
and I'll pick you up here.

- Father would never allow it.
- That’s a shame.

Very good. Bravo!

Shot 2, take 1.

We won't see the slate.
It's fine.

Push it underneath, Sylvia.

Get ready. Onward!

Don’t speak yet.

Begin, Sylvia!

The dairy?
Oh, you saw the milk cart!

We borrowed it
from a neighbor.

My parents run a hardware store.

I love hardware stores!

Father!

Quiet, you fool!

Anatole has one hooked!

Thank you.

Scene N, shot 2, take 3.

Get ready, Sylvia.
We're rolling.

Row, good old D’Arnoux.

Smoother strokes
with less noise.

I's impossible. Cut.
- cut!

Scene N, shot 5, take 5.

I was dying to ride in your boats.

- Not disappointed?
- On the contrary.

Maybe it's the way you row,
but we glide along so beautifully.

It's so quiet here

that it seems wrong
to make any noise...

to break the silence.

Silence?
With the birds chattering away?

Their song is part of the silence.

- Do you like the river?
- Oh, yes.

So do I.
I come here often.

- Cut.
- Scene N, shot 7, take 1.

Get ready. Action!

- Anatole, give me your fishing rod.
- No.

- Give me your fishing rod.
- Please, Mr. Dufour.

- You're hopeless, Anatole!
- Please, Mr. Dufour.

Thank you.

Scene N, shot 16, take 1.

A Day in the Country.

It's worth visiting.

Wouldn’t you like to go ashore?

cut

A Day in the Country.
Scene N, shot 17, take 3.

Wouldn’t you like to go ashore?

Just to stretch our legs.

Mr. Henri...

I'd rather not.

Cut. That's good to print.

A Day in the Country.
Scene N, shot 17, take 4.

Wouldn’t you like to go ashore?

Just to stretch our legs.

Mr. Henri...

I'd rather not.

cut

- That was a good lake.
- Yes.

A Day in the Country.
Scene N, shot 20, take 1.

“I'd rather not.”

Why not?

-Cut.
-Cut.

Once more.

- Rolling.
- Scene N, shot 21, take 3.

Just a second.
Ready, Claude?

Ready.

Why not?

It's getting late.
Mother will be worried.

She’s scared of the water.
She’ll surely be on her way back.

You really want to go back?

Yes.

Cut. Print that one.
It's perfect.

Country.
Scene N, shot 22, take 5.

“She’ll surely be on her way back.”

You really want to go back?


- “Yes.
- Very well.

As you wish.

-Cut.
-Cut.

Scene N, shot 25, take 1.

Get ready.

Ready?

There are reflections on the lens.

- Did you get the slate?
- Are we shooting or not?

No, not like that.

- There are reflections.
-Cut.

Scene N, shot 25, take 4.

Action.

Yes.

Very well, as you wish.

It's best if we went back.

- Cut,
- We can hear people laughing over there!

Scene N, shot 26, take 1.

It's best if we went back.

cut

Slight motor noise in the far distance.

Despite this, well shoot.

You're no longer in the boat!

Okay, the noise stopped.

We can still hear the plane.

Rolling.

Brunius/!

It doesn’t work.

Begin/

Henriette!

I’m not afraid at all now.
Mr. Rodolphe is very skilled.

We'll row all the way to the end!

Scene O, shot 1, take 2.

Action.

And what is your name, madam?

How bold of you! Why do you ask?

So I may court you.

Well... try to guess.

I give up.

- Juliette.
- Then I'm Romeo.

No. Your name is Rodolphe.

I’d rather be Romeo right now.

He’s so funny!
Wherever do you get such ideas?

Thank you.

Scene O, shot 2, take 2.

Get ready. Action.

I give up.

- Juliette.
- Then I'm Romeo.

- It wasn’t good.
- Yes, it was. Excellent.

Scene P, shot 1, take 2.

Action.

Stop.
- Cut

Shot 2, take 1.

Action.

Listen to that bird.

It's a nightingale. He sings all day
when the female is nesting.

- A nightingale?
- Be very quiet. We'll go sit by him.

Thank you.

Shot 2, take 3.

Get ready. Action.

Listen to that bird.

It's a nightingale.
He sings all day when —

Damn.
- Cut. Start over.

Stupid nightingale.

Scene P, shot 3, take 1.

Wait. One step back, Sylvia.

Action!

Shot 6, take 6.

Get ready. Action!

It's beautiful.

I've never seen anything so beautiful.

All enclosed, like a house.

I come here often.
I call it my private office.

cut

Scene P, shot 19, take 4.

Action.

My hat!

A thistle!
They're prickly!

My Romeo!

-Cut
- Photography was magnificent.

Take 2.

Wait. Don't start yet.

Action.

He’s in that tree.

Don’t cut.

Keep filming.

Scene P, shot 9, take 6.

Henriette!

Henriette!

Henriette!

- Cut.
- Cut

Just some train noise at the end.

Take 5.

Wait.

Action!

- Mother!
- Henriette.

Please don't.

Stop!

It was something new, understand?
“Henriette,” “Please don’t.”

Scene P, shot 20, take 6.

Get ready.

Action!

- Mother!
- Henriette.

Please don't.

We'd better go back.
I's getting cold.

Thank you.

Shot 6, take 7.

Get ready. Action!

I often come here.

My happiest memories are here.

Thank you.

Shot 11, take 4.

Get ready, buddy.
Look straight at me. Action.

I often come here.

My happiest memories are here.

That was perfect. Very, very good.

Shot 12, take 2.

Not quite.
Look straight at me.

I think of it every night.

“Henriette!”

“Henriette!”

“Henriette!”

Good. Perfect. That was excellent.

Get ready.

Action.

I think of it every night.

Henriette!

Henriette!

Henriette!

Time for us to go, dear.

Yes, it is.

Well?

Cut.

Project conceived in 1994
by the Cinémathéque française.

Here’s the boss.

Here’s the boss.

Original film stock:

nitrate negative
nitrate sound negative

Here’s the boss.

- Here’s the boss.
- Shot 1, take 3.