There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The first must-see film of the year.

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

Taking part in a poll on ICM for the best movies of 1981,I began looking on Amazon UK for DVDs from the year. Already making plans to look at French cinema from the year,I was pleased to find a François Truffaut creation,which led to me going next door. The plot:Working as a teacher in a small town, Bernard Coudray keeps events that happened in his past to himself,with Bernard pushing any questions aside from his wife Arlette and their young son Thomas. Seeing new neighbours moving in next door,the Coudray's decide to go and greet them. Welcomed in by Philippe Bauchard,Bernard begins to fear that he can't keep his past secret,when he is greeted by Philippe's wife Mathilde,who was Bernard's first ever love.View on the film:Supplementing the feature with informative extras, Artificial Eye delivers a classy transfer,with the image and soundtrack being clean,and the subtitles moving at a readable speed. Mentioning in the commentary that they both "clicked" the moment they met François Truffaut,Fanny Ardant (who got married to Truffaut) and Gérard Depardieu both give sparkling performances as Bernard Coudray and Mathilde Bauchard. Afraid of looking back into the past, Depardieu gives Bernard a fragile calm which erupts as he begins welcoming the memories of the past. Being more at ease than Bernard, Fanny Ardant brims Mathilde with a quiet,open confidence,that reveals itself in Mathilde's attempts to get Bernard to open up to Arlette about his past.Keeping track of their decade spanning relationship,co-writer/(with Suzanne Schiffman and Jean Aurel) director François Truffaut & cinematographer William Lubtchansky continue expanding on Truffaut's stylish tracking shots,via the tracking shots here elegantly carrying the passage of time between the couple. Striking an abrasive melancholy final note,Truffaut builds towards the final encounter with Georges Delerue's great "suspense" score gradually gaining ground in the romance.Inspired by the Tristan and Iseult,the screenplay by Truffaut/ Schiffman and Aurel delicately piece together the lingering love that Bernard wants to keep in the past,as the woman next door,opens the door to Bernard's past love.

La Femme d'a Cote shows violent emotional state of two melancholic lovers.Truffaut wanted to reveal the extreme steps of frustrated love.It is a brilliant story of passion set in the provincial french town of Grenoble which shows that love is the only thing that is universal.Bernard and Mathilde are truly the perfect lovers Truffaut wished to exploit in his film.There is a sense of urgency in their love affair as in a place where all the people know each other,it is highly improbable that any love affair can remain a secret.La Femme d'a Cote has agreeably given an idea about small town charm wherein Truffaut has vividly portrayed all the minor details of provincial life.Truffaut,while filming La Femme d'a Cote,hoped that the viewer would not be tempted to take sides in order to call one wrong and the other wrong but would love them both as he has loved them.Truffaut will remain the only filmmaker who has mastered the art of human emotions.La Femme d'a Cote gives an impression of an affecting account of human foibles by illustrating how a happy married man sacrifices everything for trivial passion.

Despite its distinguished provenance, and despite the presence of the stunning Fanny Ardant, this is pure soap. It even has a local busybody chattering background on the characters, a tested U.S. soap-opera technique. Gerard Depardieu is wooden and unconvincing as Ardant's lover. The rest of the cast (except for Ardant) is adequate at best. I don't think Truffault ever made a worse movie. It does exhibit his economy of expression and beautiful style, but nothing can save it from its own sentimentality and simple-mindedness. I don't believe this turkey has ever been in general release in the U.S., which should soften the hearts of even the most savage haters of the French. They did us the favor of keeping this one mostly to themselves.

An outstanding love story, with an astonishing, riveting performance from Fanny Ardant. My own love affair with Truffaut began as a teenager when I first saw "Jules and Jim." But "La femme d'a cote" moved me most directly and most powerfully of all his great work. Is love "toujours triste"? No, not always sad; now that I'm in my forties, I'm much less a romantic. And love may be of many varieties. But deep romantic love, I do believe, rarely appears on screen as honestly portrayed as here. "The Woman Next Door" presents us with the power, the physical impact of love, the way it "takes our breath" away and so much more. Truffaut so often focuses on love, and usually more positively and in a greater variety of ways than other great directors. But if you want funny, fresh young love, see Truffaut's "Soft Skin" or even "Don't Shoot the Piano Player. His films which are more about infatuation versus love, i.e., the original (Truffaut's film, not the American one with Bert Reynolds) "The Man Who Loved Women" or even the Hitchcock tribute "The Bride Wore Black" while "darker" in tone -- all these remain quite funny, generally light in tone, and quite lively in pace and style. In "The Woman Next Door," more tragic, melancholic moments appear -- it's more akin to the highly autobiographical "The 400 Blows," which tells of Truffaut's difficult adolescence. Yet it has its lighter moments, too. My own response was a strong interest in the drama, the suspense, and astonishment at the beauty of the story, the acting, and the many moments of cinematic genius. Truffaut did, personally, fall in love with Ardant, the lead actress here; they married, so just how much autobiography went into this tale and film -- I don't know. "Next Door" represents Truffaut in a mature phase of his life and career, one which shot off like a rocket and just kept climbing. Ardant went on to act well in many other films, even in several after Truffaut's death. In her starring role here, she made her debut to my acquaintance. She stunned me; I thought I knew Truffaut's work well enough -- after ten to twelve years of trying to see everything available by him, reading about him, and so forth. Yet this film knocked me out, all the same. Superb.