Very very predictable, including the post credit scene !!!

The film makes a home in your brain and the only cure is to see it again.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Great movie. Not sure what people expected but I found it highly entertaining.

a love story. or only drawing of deep solitude. few portraits. meetings. and the salt air of a holiday.a film about common events, old words, not surprising choices. minimalist and honest. nothing strange, nothing unknown. almost a documentary.but it is different not only for dialogs or performance of lead actors, for mixture of characters silhouettes or for few scenes but for force of measure, for the isle of silences, for the skin of existences, fragile, strange, gauzy. collection of faces, gestures and search to escape from yourself, useful art lesson, demonstration of great importance of small things, bitter, nice, cold, it is, like each good movie, only a mirror.

Jean Pierre Blanc is not a very famous name for most viewers who have seen French films.However,after watching "La Vieille Fille"/The Old Maid it is hoped that audiences interested in serious cinema would be tempted to discover not only Jean Piere Blanc and his films but also many other unknown directors who have made meaningful,entertaining films.The theme of lonely people depicted in "The Old Maid" remains relevant even for contemporary audiences.However,the major difference is that the films about lonely people of the past relied more on imagination whereas the same films set in present times tend to be based on gimmicks and hype.By giving roles to Annie Girardot and Philippe Noiret,two of French cinema's most talented as well as known faces,a tender look at male/female relationships has been cast.Although the film is about some secondary characters with weak qualities,there is absolutely no hint of any mocking tone.Lastly,some sensitive observations about various facets of life especially in the context of human relations and love have been honestly presented in this film.This is a film to be watched if one is patient enough to let human sentiments rule over human reason.

The quiet Mediterranean resort of Cassis is the setting for this story. Gabriel Marcassus, a man traveling to Spain in his Cadillac has car troubles. He happens to be right in front of a small tourist hotel and goes for help. His car needs to be checked because transmission problems. He has no choice but to stay at the hotel. For lunch, Gabriel comes to the dining area, but all tables are taken. The man in charge goes to a woman to ask if Gabriel can share her table. It is clearly this woman wants no contact with other guests; she even eats sitting with her back to the rest of the dining room. When asked, she decides to let Gabriel sit with her. The experience is not a happy one for her.The lady turns out to be Muriel Bouchon, a Parisian on vacation. She is rather shy and into herself. Muriel stays away in the beach area, but Gabriel finds his way to bring his towel close to where she sunbathes. The two form a strange bond, staying away from most public contact, but it is inevitable they will be seeing a lot of each other in such a small place.The hotel is peculiar. The maids wear a mini dress that is revealing. Gabriel's maid is Vicka, a vivacious young woman whose good looks charm him. Being in close proximity gives him a heady feeling, although nothing improper goes between them. Another guest is a pastor whose sits on the table next to Gabriel. His wife is odd. She sports wounds in her feet and hands, perhaps a sign of being a stigmata. In the end, Muriel accepts the idea of being with Gabriel, a good natured man who does not want to force her into a sexual relationship, and as a fellow Parisian, he is someone she might like to see when the vacation is over. As the end of her stay nears, Gabriel asks for an address and phone number, and to his amazement he is rewarded.A delightful French comedy from 1972. Directed by Jean-Pierre Blanc, the film brings us to share a few summer days in good company. M. Blanc also wrote the screenplay, which is pleasant, like a summer day at the beach. Muriel is a shy woman who wants to stay by herself. She comes to accept the presence of Gabriel because she realizes he is a good guy who does not threaten her in any way. Gabriel, in turn, while liking Muriel, is unable to be forward enough to ask for something he will be turned down. Politeness reigns during the time they spend together.An impressive Annie Girardot, an actress who was a favorite during the 1960s and 70s in the French cinema. She does not disappoint with her Muriel, whom she has fun while she was playing her. Philippe Noiret, a colossal figure in the last half of the French cinema makes an adorable Gabriel, a man any woman would love to have around because of his kindness. There is an undercurrent going on between the two main characters that work fine within the context of the film. The excellent supporting cast includes the great Michel Lonsdale, Marthe Keller, Edith Scob and a glimpse of Maria Schneider.

This is a story about "fitting in" where you (and everyone else for that matter) are the odd man. "La Vieille Fille" is a chronological jig-saw puzzle. You get all the pieces in their proper order but as they are all laying "face down" you never know what the next piece will be until it's turned over and inserted into its' place. That's the way the story plays out. Each scene is more like a series of still-photographs rather than a motion picture. Dialog is sparse. Actually, "dialog" is a bad choice of expression, as most scenes consist of a monologue. It must have been a very difficult film to direct. But as daunting a task in creating this film, as it must have been - it has succeeded! The short scenes and long, silent spaces give the male thinker time to identify himself. The mood is tangible. Philippe Noiret has been around for a long time and he's always a welcomed contributor to any film. He does very well in "La Vieille Fille". If you choose to see this film your eye will be upon him the whole length of it and once you get settled into the story you'll begin to think it is you (yourself) prodding along, scene after scene - not Noiret – right to the final, parting shot. WARNING: "Matrix" and "Die Hard" fans - look elsewhere. You'll find no exploding automobiles and ticking bombs here and you'll end up slitting your wrists or stringing yourself up before the film is half-way through.