It's fun, it's light, [but] it has a hard time when its tries to get heavy.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

"Adieu Philippine" is the only movie from the so pretentious "nouvelle vague" that I really love to see again and again and again. I showed it so many times to friends who agreed with me : funny, fresh, a fine portrait of that early 60's period, and a special mention to the fast editing with lot of exciting 60's music (try to find the record distributed in the theatres at that time). Lot of great laughing moments, nearly "cinéma-vérité" as most of the actors have never shot any other movie : Michel Lambert's scenes working at television, the meal with Michel's family, all the scenes with the publicist played by the fantastic Vittorio Caprioli (who also later directed), the two girl friends of Michel Lambert (but the Italian one is dubbed). All that first part is really exciting, but sadly the second part slows down considerably, losing total interest. But what a first part. Exactly the same with another movie by Jacques Rozier, "Maine Océan" : fantastic first part with Luis Rego, Bernard Menez and the hilarious Yves Afonso, and after, brutal slowdown. Anyway, thank you Jacques Rozier and Jean-Claude Aimini (as Michel Lambert) for that pure moment of cool freshness.

This is indeed "nouvelle vague" in ways many other films of the time claimed to be but really weren't. The "innocent" onlookers on the side look at the camera, the dialog seems improvised to a large degree and the actors/actresses "introduced" were for the main part never heard from again. There's not really much of a plot as there were in many N.V products and at times it feels invented as it was made. The comedy throughout and the joyful music lighten the restrictions (and making it seem more 'nouvelle vague") but there are several elements just below the surface which are in sharp contrast. Two girls who swore fidelity in friendship are torn apart, the young protagonist is off the fight a very unpopular war, the young man who refuses to talk about his experiences fighting in Algeria... The film survives as an historical document of new ideas in French film-making of the time and as such rather severely dates itself. It's easy to understand why it was so popular when it was made but that fact works against it decades later.

With A bout de Soufflé (and other Godard films), Adieu Philippine is in fact the only film that deserves the 'Nouvelle Vague' label term and that kept the promises of this generation, of a new way to approach cinema. (Truffaut looks very classical in comparison). A real liberation of the cinema's language : variation of feelings, tones (sentimental comedy, Algerian tragedy, boulevard, etc...) on the screen followed by variations of technique's shooting (television, improvisation, etc...), of montage or setting, a jubilating firework as an hymn to joy of life, imagination. For this and other points, Adieu Philippine has the role in French cinematography that in Italy Otto e mezzo may have played though in another way and much more secretly. Rarely characters have been given such importance, such vibration in every day's little things. The close-up on a young 'stupid' girl's despair dancing face to you is one of the numerous unforgettable moments of this still refreshing poem sometimes worried by the threat of death.

Like most of the nouvelle vague works ,"Adieu Philippine" seems dated now.Some people will praise it to the skies ,other will find it a bit boring and tedious.The first part is the best:the depiction in a quasi documentary way of the TV studios,the meal at the hero's home where his parents and grand-parents are discussing barroom politics ,the stupid commercials -the movie was prophetic for that matter-.The spontaneity of the actors is convincing.There's a sword of Damocles hanging over the hero's head:in two months ,he will be drafted and will have to fight in Algeria ,French dirty war.That's perhaps the most amazing thing:nobody,neither the future soldier nor his girlfriends or relatives seem to take it seriously.He will go,period.That makes the movie unintentionally a bit reactionary,particularly if we compare it to old wave Autant-Lara's contemporary "tu ne tueras point".The second part is nouvelle vague flesh on the bone:a very loose plot, and a very loooong ending.Sincerely,I doubt the 2002 audience can relate to such amateurish directing.Some will say the hero wants to make the best of what is left to him :but nothing vibrates and everything seems hollow.The movie was a flop and did get critical acclaim afterwards.So,my opinion is probably not very orthodox.