User Reviews

This film is a little more complex than the title suggests. Love is only one of the elements of the picture.

In fact, I would say most of the movie is spent on producing "art" that you are not proud of. This theme is throughout the movie. You get the impression that it is being bolted into your nerves like a physical trauma bolts in disdain.

We also deal with the end of youth and how we cope with it. The film is indeed extremely raw. The scenes are meant to be honest and to the point. We get very little sidestepping when it comes to the point of scenes. Perhaps the actors will discuss things in a roundabout way, but the theme slices through each scene like a scimitar.

On the subject of love. This is very important to the movie as well. Even though there are virtually no signs of it til the very end, there is a longing for it. And that is what most good romances are about. Sydney Pollock once said something to the effect of, the interesting part of a Romance Film is the longing for the connection between the characters. You can have a couple of slow motion scenes of them waltzing through the park and feeding each other fruits, but that isn't what drives the story and the film. Perhaps that is why this film is so good.

Hardly anything witty about love has dawned on Zulawski's third feature, an almost exclusively chamber drama, where a burgeoning attraction between a pornography photographer Servais Mont (Testi) and a second-rate actress Nadine Chevalier (Schneider), has barely taken off from the platonic struggle, because Nadine is married to Jacques (Dutronc), to whom she bears a tangible fusion of gratitude, responsibility and affection, which complicates their situation into a torrid emotional abyss so as to testify that love is indeed the most inscrutable, unpredictable, yet the most important thing.

Crammed in the high-ceiling, antique-looking Parisian apartments and loci like theatre, bar and hospital, its mise-en-scène strains to stay claustrophobic, fluid and quivering, signals the characters' shaky states, but, Zulawski and the screenwriter Christopher Frank fail to let their emotions run the full gamut to reach out its dazzled viewers, a stately but shallowly anaemic Testi cannot portray a role, whose inner depth is apparently out of his league, fumbles and routinely daydreams from scene to scene, his fervent gaze can not justify Servais' actions, his thoughts, and the limp dialogue doesn't help either.

Ms. Schneider, won Best Actress in the first-ever César Awards, is palpably more tapped into her role, sending off her raw charisma into her inwardly paralysed psyche, she tries to be frank with her own feelings, desire, dignity and pride at her own peril, but there are too many smoke and mirrors around to indulgently mystify an uncompounded, and fragmented story-line, the only thing to ameliorate the faint exasperation is when the pure dramatic sequences take the stage: Kinski's spit-fire flare-up is a mood-enforcer, Dutronc stands out in his chummy whims and delightfully erratic behavioural conundrum, a peculiar man who withdraws into a reprieve from, in an obvious tenor, a husband's functionality (abruptly falls into slumber so that his wife can only hopelessly play with herself to slake her desire), but also hatches up something seemingly unspeakable and inexplicable with Servais through an undertone of self-abandonment and total capitulation, in a muscle-versus-quirk contest over the same woman.

Zulawski's highbrow ambition to extract something refine and sophisticated out of the triangular deadlock doesn't consummately do the trick, in the end, Servais has to pay his debt with his blood and internal bleeding, from a father figure Mazelli (Dauphin), in his case, love IS the most important thing, if he can endure all the pain both physically and mentally, to demonstrate his unconditional devotion.

Georges Delerue's score is ever so conspicuous whenever a close-up is zoomed in between Servais and Nadine, to cloyingly illustrate their passion, otherwise, it remains forbidding and sinister, circles around a pessimistic account of love, in its purest but strangely tepid manifestation.

Any average viewer who comes across 'Limportant c'est d'aimer' will be stymied by it, and will hate it for its abstruseness, and I couldn't possibly begrudge them for doing so. Watching the films of Andrzej Zulawski is the cinematic equivalent of selecting Expert Mode to play a videogame for the first time, and even for cinephiles with substantial breadth and depth of experience in the medium Zulawski is unquestionably challenging. As if to emphasize the point, I didn't actually realize in the moment before pressing "play" that this was one of the man's works, and I really thought I knew what I was getting into based on the premise. I could scarcely have been more wrong; one might reasonably append labels of "drama" and "romance" to this picture, but it's only because those are the nearest approximations of any descriptors that might be applicable. The writing and execution bear a jolting ferociousness and unconventional, somewhat avant-garde tenor that recalls the filmmaker's twisted 1981 horror masterpiece 'Possession' more than anything else. This is forceful, emphatic, and even exaggerated in ways that recall a wide range of cinema far removed from those titles which usually share labels with this one. Strange as it is, though, I'd be plainly lying if I said it didn't raptly keep one's attention and stand out for its distinct stylistic approach. In fact, not only is it fascinating, but despite its difficulty it's also obliquely enjoyable. I'm not going to sit here and pretend I understand everything Zulawski was trying to do with this picture, but it's a curious and fantastic experience, if also absolutely suited to only a niche audience.

From start to finish and in pretty much every way the visual, auditory, and emotional aesthetic of 'L'important c'est d'aimer' isn't just dark, or bleak. Rather, while the narrative doesn't carry itself as even a "thriller," the tone in every aspect brings to mind terms like "horror," "dystopian," post-apocalyptic," or in the very least "(urban) decay." Georges Delerue's score, equally beautiful and haunting in its momentousness, alternates between themes that on the surface would be more appropriate for a sci-fi tale of world-shattering cataclysm, and themes that on the surface would fit right in with a nerve-racking horror-thriller. Ricardo Aronovich's photography is likewise stunning in its crisp, vivid, and dynamic thrust that accentuates the dire mood at every turn, and at the same time I can't help but wonder if Zulawski suggested Aronovich shoot the feature as he would a flick about demonic possession. The production design, art direction, and costume design are all marked by splendid care for detail and completeness, yet invariably project airs of a broken society and broken characters. Even the hair and makeup, excellent as they are in and of themselves, paint the cast in dour hues that make their appearances here pointedly unglamorous and downright haunted. The fundamental look and feel of this movie is one of major disquiet.

Of course the actors very much follow this ethos under Zulawski's grim guiding vision as director. I'm of the mind that everyone involved gives a strong performance, very much doing their part to bring the harsh tableau to stark, throbbing life. From one to the next the ensemble inhabit their roles with a constant dispirited presence, an unsettled state of tense, hollowed-out apprehension - not an absence of emotion, but an overwhelming panoply of the worst ones. Among the supporting cast or even primary movers some portrayals are more firm than others, though I disagree with the seemingly common opinion that the likes of Fabio Testi, Jacques Dutronc, Claude Dauphin, or Michel Robin are altogether weak. Rather, they simply pale in comparison to others on hand. Volatile, legendary, infamous Klaus Kinski may only have a rather minor role, but I don't think there's much arguing that he well outshines many of those with more prominent characters. Yet even he is merely an ant under the heel of Romy Schneider. There can be no doubt that Schneider earned her César award for her performance as Nadine, and surely deserved many more accolades, for this may have been the best turn she ever did. She sparks with astonishing, anguished, tormented vitality here, such that it's hard to drum up especial comparisons except perhaps Isabelle Adjani. Frankly, even if there were nothing else worthwhile about 'L'important c'est d'aimer' (there is), it would be worth watching just for Schneider alone. What a powerhouse!

With all this having been said, the writing is certainly where the feature gets tricky. I don't know how much of what we see is attributable to Christopher Frank's novel, how much to the screen adaptation he penned with Zulawski, or how much to Zulawski's realization of the material. One way or another, it's indisputable that aside from Schneider the chief defining characteristic of the experience here is its lofty, backhanded approach to storytelling. That some seem to think this an easier point of entry to the man's oeuvre says much about his body of work at large, for 'L'important c'est d'aimer' weaves in facets and themes that I readily admit escape me to at least some degree. I think "inscrutable' is too heavy a word, yet as much as it stands to be enjoyed by everyone on one level, and on additional levels by more attentive viewers, I can only congratulate those grasp the entirety of the plot as it presents. Be that as it may, the strength coursing through the film is inescapable, and from its dialogue to its characters and not least the buzzing, vibrant scene writing, this is delicious and satisfying even if we lack the palate to discern every last touch of its bouquet.

Zulawski is in no way a director for beginners, and one must be ready to actively engage with his pictures or not even bother taking a look. This is to say nothing of the pervasive dreary ambience, or abundant sex and nudity and considerable violence. Even if one is unable to pick up on every last minutiae, however, those who are thusly prepared will be greeted with a bounty of masterful film-making, acting, storytelling, and otherwise craftsmanship that is ample compensation for the labor that our spectatorship requires. It bears repeating that whether or not one is specifically a fan of Romy Schneider I believe this merits exploration for her acting alone, but even outside that performance there is so very much to appreciate here. It's not a title one can watch passively, but in every regard 'L'important c'est d'aimer' is worth every gloomy minute, and earns a high, hearty recommendation.

Romy Schneider was absolutely right to consider this film as her major professional achievement. Thanks to Christopher Franck's remarkable adaptation from his own awarded novel LA NUIT AMERICAINE (not to be mistaken with Truffaut's well-known DAY FOR NIGHT) and to Georges Delerue's haunting soundtrack, Zulawski is here at his paramount, because his usual romantic excesses perfectly fit this time the subject. As for the cast, all the actors have never been so right in the part they've been chosen for : from Fabio Testi to Jacques Dutronc, from Klaus Kinsky to Claude Dauphin, not to mention Michel Robin. The scene in the bar, just after the theatrical premiere of Shakespeare's RICHARD III, when the whole crew reads the articles dedicated to their play, almost looks like a mirror of Zulawski himself, as most of his works have been misunderstood, if not definitely "killed" by the critics. if you happen to belong to the happy few who sincerely praise L'IMPORTANT C'EST D'AIMER, try to see some day the films that writer Christopher Franck personally directed from other novels of his about the same bohemian milieu, specially JOSEPHA, featuring Miou Miou & Claude Brasseur.

I'm not surprised to read here at IMDb that Romy called this her best work. She leads a cast of irresistible losers (Dutronc, Kinski, Testi) in the wholly believable debauchery that is so truly the amoral dilemma of the profession Maugham has called "THE show business". The physical electricity of these performers is such that I came away from it thirty years ago thinking that Miss Schneider was Brando's doppelganger. Or perhaps she WAS Brando! After all, they were never seen together, were they? If acting may be defined as the truthful response to fictional stimuli, then this film, which, by the way, must be screening daily in both Heaven and Hell, was perhaps shot in one cosmic take. These actors display - seamlessly - their bodies, their appetites, their loves, egos, ids and superegos. Never mind the sadness, life is for learning.

This movie was one of the best Romy Schneider films of all time, and this film made her win a César Awards for Best Actress. I love her performance in his movies.

This is the second Zulawski's movie i watch, the first one is his famous POSSESSION. "L'important c'est d'aimer" is not as good as POSSESSION but still, it's a good movie worth watching. A movie that most of cinephiles will enjoy. It's flawed, there are some pace problems, it's not cohesive, maybe it's a bit messy and chaotic. But it doesn't matter, because this is True Cinema. This is an artistic creation, intense, raw and honest. Even if you don't like it, it's worth watching it just for the acting, literally every actor here gives a breathtaking performance. There is a dream-like atmosphere, almost surreal at times, viewer empathizes with the characters. A (dark) comedy relief, a drama/romance, the things we do for Art, the things we do for Love. I cannot describe it well, this is more an experience than a well structured movie. It's too flawed to call it a masterpiece but you will remember it for a long time, whereas many "better "movies than this are forgettable.

A very simple, and (thus) extremely powerful film. And, sadly, underrated. It's a mind-opening experience. It doesn't say anything new or different on the subject, its simplicity and consistence shows loud and clear that...love is nothing but pain, but it's the only thing worth fighting (living; feeling pain) for; the only thing that sets you free. When Schneider's personage finds an earlier repulsive photograph dying in his desolated apartment you get to feel that now she cannot not love him... A very sincere, believable, touching film resembling real life and real love. Every actor's work is praise-worth, and worth the film's title. They knew what each of them were talking about. And no wonder Kinski took part in this. (The mood of this film is somehow similar to Last Tango in Paris.) You can almost feel wounded along with these 'people' that are being thrashed by love.

Contrary impressions when evaluating this film of the frequently interesting, and often bizarre Zulawski.

One doesn't know whether to start by praising the magnificent performances and cinematographic expertise of the director (who seem to have a Fellini-worthy ability to accurately capture his intentions) or by deploring the melodramatic excesses of a morbid and tear-jerking three-way love story, where characters do not stop crying or giving each other intense painful glances, always underlined, as if the totally over the top style of the film were not enough, by the same bars of a characteristic strings Delerue melody (which is used insistently by the director to make it clear to the viewer that there is a lot of pain there, and that it is an important moment, in case he doesn't get to notice it)

We don't know whether to give more weight in our appreciation to the meritorious daring of the director or to his annoying narcissism that translates into a host of bizarre whims, reminding us at every moment that this is the most rarefied auteur cinema.

There is much to praise, and despite the hyper-emotionality that prevails in the film, or precisely because of it, some performances are of the highest order, especially Romy and Dutronc. Others are simply laughable. There are some very good scenes, in its overwhelming style, but most have at least a touch of shameless exhibitionism. The direction is brimming with imagination but its ideas are often pretentious and utterly lacking in subtlety.

The best is Romy Schneider, more beautiful than ever and in a display of authentic expressiveness, the actress works miracles, but again the director ends up making us feel that everything has a lot to do with repetitive, obscene and immodest emotional exhibitionism.

Beautiful movie of three persons seeking to live, love and survive... Romy Schneider's performance is stunning as a porn actress desperately in love with a man who doesn't wish to live anymore, and resisting the seduction of a photograph. The picture is pretty "intellectual", but not boring. Soundtrack is fabulous...A great 70's melodrama. And what a pleasure to see Kinski!

Must see.

There's a part in the film where the Richard III director Messala reads a review of his failed production. I'm paraphrasing, but the critic from the review says that there's a kind of pointless German expressionism to everyone's acting. The director of this unwatchable film included that scene presciently knowing that wise critics would also say that about "L'important c'est d'aimer."

Yes, this must be the most overacted film. It's something about Schneider and Kinski that makes this film laughable. I've always felt German-language actors of the era overacted as a way to display soul, edginess, and perhaps because they were taught to adulate their heritage cinema, but gosh... yawn. There's something utterly un-French about this bizarre French-language film. It's also quite one note with the histrionics and irrelevant nudity. Fail. Just don't.

Servais ,a photographer (Fabio Testi) meets Nadine ( Romy Schneider), a B-list actress and he falls in love with her. He'll try with any cost to help her with her career. The movie talks about love as a drug. Servais is in love with Nadine who is his drug. She means happiness and at the same time suffering to him. The film describes a very beautiful love story in a very cruel and dark environment . Movie has nothing to do with the usual American romantic movies. The spectators will see and understand the soul of the main characters. The interpretations are amazing. Romy Schneider is a great actress and she is proving it again in this movie. The first five minutes of the film are outstanding. She doesn't need to talk , her face says everything !! The other actors give their best too. Zulawski makes a very special film which has his stamp. He creates his own world based on how society is structured. I think that L'important c'est d'aimer is a film that either you hate it or love it, there is no middle way. Although, it is a must see for every cinephile!!

Pros: 1. Both Romy Schneider (Nadine Chevalier) and Fabio Testi (Servais Mont) give really good performances. 2. Fabio Testi and Romy Schneider also have great chemistry with each other.

Cons: 1. The dialogue is quite obviously dubbed and it's incredibly distracting. 2. The cinematography is really strange. Not only is it filled with pointless zoom-ins and framing decisions, but the lighting is exceedingly ugly. 3. The score is very overbearing and played way too loudly. 4. The sound design is often wayward. During a scene that takes place in a hallway, for example, the sound that is emitted sounds as if the scene was filmed in a shallow cave. 5. The plot is unengaging and nonsensical at times. 6. None of the characters are particularly likable or interesting. 7. The pacing is far too slow which means the movie is a little laborious to get through. 8. There is too much pointless nudity that just feels inserted for shock value.

This one is a strong contender!Romy Schneider was highly praised (and granted a Cesar) for her "harrowing" part but Zulawski is definitely a deeply boring terribly pretentious director.Outside Schneider,the casts includes zombie Dutronc who portrays a totally unconvincing character with suicidal tendencies and Fabio Testi,one of the worst Italian actors.

The plot is very trite but it is given a "meaningful" "intellectual" treatment whose purpose is to make the audience feel they have watched an "important" work.

Nadine Chevalier was Schneider's answer to those who thought she was still their Sissi.

I'm not an intellectual:I like Sissi best.

A simple story about an actress, her sentimental dilemma , dark atmosphere and one of the most powerful roles of Romy Schneider. In same measure, a dark exploration of compromisses , limits of intense love and pure addiction, Fabio Testi reminding a young Andrei Batalov and offering fair portrait of vulnerable young photographer, under pressure of parent, friend, protectors and the woman who he loves and her, brilliant acted by Dutronc, husband.

A great film , gloomy, bitter but pure honest , proposing not exactly pleasant ways but the truths defining, in its basic dates, its essence.

In short, not comfortable, near bizarre but fascinating for the precise images of vulnerability .

I just bought the DVD of this film and will never cease regretting it. This is the most awful Romy Schneider film I have seen, and I have seen most of her movies, including the ones filmed in Germany (Sissi, etc.).

The 70's produced the weirdest films and I probably should have known better: if Klaus Kinski was in it, it cannot be good. But I love Romy Schneider and so I went for it.

I will probably never see this movie again because I couldn't sit through this pretentious crap twice. I cannot understand how anyone could like this film. I didn't even like Romy in it, and that says a lot, given that she's one of my favorite actresses.

If one reads the description of the movie plot, one is deceived as the story is not as simply told as described. I wish I could get my money back, but I bought the DVD from Amazon.de (Germany) - too much hassle to return it. I'll just throw in the trash instead and good riddance.

This is a film for manic-depressives or people on amphetamines, maybe. I have rarely seen such frenetic activity outside of martial-arts pictures, yet the story is simple: a woman tires of her limp husband (Dutronc)and tries to start up with a much more masculine type (Testi). The milieu is the porn movie business which Schneider's character works in, interwoven with the classical theatre world she would like to belong to.

Romy Schneider got the Cesar award for her performance here; she pulls out all the stops to create this gifted but battered-by-life character. Pity that Zulawski couldn't craft a more balanced film around her.