Last exit before Roissy

Dernière exit before Roissy is a film French realized by Bernard Paul and left in 1977.

Synopsis

Monique and Didier, a young couple, live and work in large quoted of the northern suburbs of Paris. They are the employees of the same haulage company: Monique is secretary, Didier mechanic. Their couple, however, is surbedded gradually in its daily routine. Marlys, the foreman, a growing old man who badly supports loneliness since his separation of with his wife, is caught friendship for them. It cohabits with his two daughters, Solange and Corinne, with which its reports/ratios are difficult. But from the events suddenly will tangle up and precipitate until the drama: Didier is surprised flying of the material in the workshop while Corinne, the junior by the girls of Marlys, is violated by boys whom it had the practice to arouse…

Comment

Pessimistic and premonitory film of the faintness of the suburbs… Continuation of destinies ordinary (incarnated by good actors which plays without ornament), choked by loneliness and expressing their evil of living by violence vis-a-vis a company which marginalizes its proletarians, who they are white, black, yellow or red, if their aspirations are not in conformity with its dictats: consumption with all goes, ambition, profit… The last film of Bernard Paul is a lucid study on our company and perhaps even a warning. It is the glance of an authentic Communist on a universe which he knew well because it was it his…

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Last film of Bernard Paul
Francoise Arnoul: It made me read very late the scenario of Dernière exit before Roissy . I included/understood all the violence which lived it. Its family had bled itself with the four veins so that it goes until IDHEC. Itself, with a savage will, had torn off the right to arrive from there there. It also fought so that the others are more privés.
Je went only seldom on turning, I tried to respect what had been its step first. To be only, with its team, her actors. I was very happy that he asks me to make there an appearance in a scene mother-girl which does not arrive at dialoguer.
Nous gained there a producer and a friend, Jean-Serge Breton, who was of a presence discrete but extreme, with died of Bernard. The film unfortunately did not go, in spite of Pierre Mondy and Sabine Haudepin, remarkable as usual. Too much lucid, too austere, too pessimistic…? With the choice of his subjects, Bernard expressed hidden. He had not enough time to acquire serenity, to take retreat and perhaps a day, with same ardor, to make a success of of works more calmes.
Time to live and Dernière exit before Roissy remains films illustrating of realities of today. They will not age, they touch with a painful and serious topicality.

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