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Post by morrisondylanfan on Apr 11, 2021 2:50:51 GMT
Hi all,hope everyone is having a good weekend,I recently saw a Sacha Guitry trio.  Nine Bachelors (1939)9 Gradually embracing the art of cinema after being outright hostile towards it in his earlier filmed plays, (where he had the cast deliver the dialogue,with their backs towards the camera) actor/writer/directing auteur Sacha Guitry closely works with The Sinners (1949-also reviewed) cinematographer Victor Armenise to give the large bachelor pad a chic stylisation, with Guitry and Armenise gliding the camera in long criss-crossing panning shots meeting the green card couples in the Art-Deco old bachelor's home. Creating a challenge for himself by having to give screen time to nine different couples in what was his longest film at this point, the screenplay by Sacha Guitry gloriously succeeds in beating the odds,with his unique The Guitry Touch. Sitting in on each woman who is after a green card meeting her future husband for the first time, Guitry cracks open tasteful vignettes of each hilariously awkward separate encounters,which swings from these strangers being loved up, to meowing to get the wedding over as quickly as possible. Although the limited locations do point to his stage roots, Guitry (who gives a very funny turn as Lecuyer,who has one eye on romance,and the other on his bank balance) Guitry stacks his battle of the sexes (a major theme across his works) with hilariously, dry-wit word play that bounces along as the nine bachelors walk down the aisle. |
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Post by morrisondylanfan on Apr 11, 2021 2:54:04 GMT
 Aux deux colombes (1949)8. Introducing the players with a opening which goes behind the scenes, (a regular recurring opening in his credits) lead actor/writer/directing auteur Sacha Guitry is joined by cinematographer Noel Ramettre in building a halfway house between his love of stage,and his growing embrace of cinema, Guitry lays out this one-set Chamber Piece being shot partiality in long takes with a static camera, and peppers it with slick tilts close up to Walter in the middle of exchanges in order to break the 4th wall and speak direct to the audience, which bounces to smooth panning shots to the shocked reaction of his returning wife.Performing large parts of the film in long one-takes,the cast give excellent turns, with Marguerite Pierry setting sparks flying across the screen as the hilariously frozen in shock as Jeanne,whilst Pauline Carton steals every scene she is in as the dead pan put upon maid Angele. Eyeing Walter being relaxed about his wife having died years ago, the screenplay by Sacha Guitry brings out his signature The Guitry Touch with rapid-fire, intelligently composed exchanges between Walter and his unexpectedly alive wife,which sets off a cracking battle of the sexes in the fiery exchanges within this crumbling macabre marriage, (both major recurring themes in Guitry's works) as Jeannie forces Walter to reveal in very funny one-liners,how long he mourned for her. |
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Post by morrisondylanfan on Apr 11, 2021 2:56:45 GMT
 La Poison (1951)10. Revealed in the detailed booklet to the great Masters Of Cinema edition that the movie was filmed in just nine days with the majority of it being made from one-take shots, writer/directing auteur Sacha Guitry reunites with The Rules of the Game (1939-also reviewed) cinematographer Jean Bachelet in whisking up a silky smooth Comedy glazed with The Guitry Touch. Whilst created in a limited time, Guitry closely works with Bachelet & editor Raymond Lamy to bring out his refine theatrical stylisation, with excellent crisp wipes darting between Paul in the courtroom and the mischief-making local kids playing outdoors,to pristine close-ups on Paul's smirk as he causes chaos in the court. Continuing to pour the dark comedic bite which became a prominent tone in his post-WWII works, the screenplay by Guitry (who breaks the 4th wall with a merry appearance in the opening) expands on his battle of the sexes recurring motif with a screenplay jam-packed with wickedly playful one-liners. Guitry sets the poison sparkling in the snappy exchanges of tension between Paul and his wife Blandine (played by a terrific Germaine Reuver), to the lightning fast, Screwball-style back and fourth between Paul and loved by the press lawyer Maitre Aubanel (played by a superb Jean Debucourt.) Later calling this the most enjoyable experience he had making a movie, Michel Simon gives a outstanding turn as Paul, wrapping each darkly comedic one-liner with a gleeful relish served on the side with poison. |
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Post by morrisondylanfan on Apr 22, 2021 2:28:40 GMT
Hi all,for anyone signed up to MUBI (I believe they do a free 30 day trail) this film has recently been added to the site. Every film by Jacqueline Audry with English Subtitles ranked. Olivia (1951)9  Previously adapting the Colette novel Gigi with her husband, directing auteur Jacqueline Audry widens family involvement and a "Colette" connection, in her sister Colette Audry joining Jacqueline's husband/regular corroborator Pierre Laroche, in adapting Dorothy Bussy's autobiographical novel, into a heart-felt, blossoming screenplay. Displaying a interest in defying the norms of this era of cinema which would become a major characteristic of Jacqueline Audry's works, the screenplay by Colette Audry and Pierre Laroche welcomes Olivia into a open school where a romantic Melodrama atmosphere hangs high,with a magical touch of poetic realism giving the exchanges between Julie and Olivia a hushed romantic aura under the skin. Book-ended their adaptation with horse carriage rides,the writers track Olivia riding into a rich coming of age,via the one-upmanship between Julie and Cara at the boarding school, to be the teacher of affection from the pupil,which widens for Julie to that of student Olivia. Featuring only two scenes involving men, directing auteur Jacqueline Audry and A Kiss for a Killer (1957-also reviewed) cinematographer Christian Matras unveil an exquisite atmosphere of light as a feather tracking shots down the school halls capturing the students and teachers bonding, which Audry twists into loving corner shot's and deep close-ups upon Olivia's lingering gaze at Julie. Joined by a wonderful Simone Simon as the passionate Cara, Edwige Feuillere and debut actress Marie-Claire Olivia give magnificent performances as Julie and Olivia,with each of them expressing with a stunning precision the romantic longing which hangs in the air unsaid,as Olivia receives an education. |
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Post by morrisondylanfan on Apr 22, 2021 2:33:36 GMT
 Gigi (1949)8 Turning Gaston's head with teasing flirting, directing auteur Jacqueline Audry is joined by cinematographer Gerard Perrin in continuing to expand her disincentive, refined stylisation, with Audry bringing the perfect light touch to attempts made by the family to turn Gigi into a high class mistress. Keeping a close eye on the attempts by the family to push Gigi into the direction they desire, Audry makes the dialogue pop,with a sparkling atmosphere of push-ins and whip-pans spinning on the snappy exchanges between Gigi and her relatives, which Audry spins out to elegant panning shots gliding across the flirting between Gigi and Gaston. Initially being out of the loop on the attempt being made to alter her, Daniele Delorme gives a outstanding turn as Gigi, thanks to Delorme balancing a youthful comedic naivety,with a growing self-confidence in her casual flirting, whilst Frank Villard gives a delightful, buttoned-up, dead-pan turn as Gaston. Later getting married to Audry in 1958, Pierre Laroche displays the closeness of their collaboration In adapting Colette's novel,which Laroche lines with merry, witty word-play dialogue that zips between Gigi and her relatives,which Laroche binds together with the sweet Melodrama of the decadent Gaston developing romantic affection for Gigi. |
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Post by morrisondylanfan on Apr 22, 2021 2:36:07 GMT
 No Exit (1954)10. Departing from the Costume Drama setting the majority of her credits take place in, directing auteur Jacqueline Audry & Forbidden Games (1952-also reviewed) cinematographer Robert Juillard welcome everyone into hell with magnificent ultra-stylisation,via mesmerising in-camera tricks which places the visions of what the three people have left behind into the room,with Audry winding panning shots from the afterlife back down to Earth. Packing them all in one room, Audry continues to expand her eye for elegant detail,with the walls of the room glistening with refined elegance,that Audry cuts through with a knife in starling close-ups on this new hellish life getting under Garcin's skin. All locked in, the ensemble cast give magnificent performances,with the dressed in a masculine suit, (which would become a recurring motif of Audry's works, continued in Le secret du Chevalier d'Eon (1959-also reviewed)) rather butch lesbian turn Arletty gives gloriously going against the tide of her feminine image. Reuniting with Audry after Gigi (1949-also reviewed), Frank Villard gives a scotching hot turn as Garcin, who Villard places under boiling hot pressure from finding himself in Hell,which Villard snaps in brittle exchanges with Estelle (played with a sharp, enticing curiosity by Gaby Sylvia.) Taking on Jean-Paul Sartre's classic play, the screenplay by Audry's husband/ regular collaborator Pierre Laroche superbly adapts the one location origins into a cinematic nightmare gallery, via gripping, Film Noir flashbacks unveiling the vicious misdeeds of the three strangers, and the ripe cynical aftermath they have left behind, as Laroche ushers into a hotel with no exit. |
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Post by morrisondylanfan on Apr 22, 2021 2:38:40 GMT
 Le secret du Chevalier d'Éon (1959)7. The only one out of the five current subtitled films from her credits that was shot in colour, directing auteur Jacqueline Audry lights her distinctive eye for Costume Drama period detail, with a chocolate box shimmering ultra-stylisation. Audry unveils long, refined panning shots over the bursting with colour flowing dresses of Catherine II, with the walls of the castles being lined in sparkling ruby red. Having to keep her real identity under wraps, Andree Debar makes her final performance one that sparkles as Genevieve / Charles, with the femininity she displays when away from the eyes of royalty as Genevieve,being a aspect which Debar subtly stretches out into a more withdrawn, masculine direction, whilst real life couple Simone Valere and Jean Desailly lay dead-pan dry-wit round the household as Pompadour and Louis XV. Playing fast and loose with reality, (the real Charles was a man who dressed up as a woman) Audry's husband/regular corroborator is here joined by Ennio De Concini/ Jacques Laurent/ Vittorio Nino Novarese & Les maudits (1947-also reviewed) co-writer Jacques Remy for a grand Costume Drama, which continues Audry's subversions of period romantic archetypes, in the delicate loving passion between "Charles" and Elisabeth (played by a lovely Isa Miranda) with playful, merry misunderstanding comedic word-play,as Charles/ Genevieve reveals a secret. |
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Post by morrisondylanfan on Apr 22, 2021 2:41:02 GMT
 Hitch-Hike (1962)8. Released the same year that her husband/regular collaborator Pierre Laroche passed away at just 59 years old, directing auteur Jacqueline Audry & The Gates of Paris (1957-also reviewed) cinematographer Robert Lefebvre drive into a major departure from the shine of Audry's Costume Drama works,with a large part of the movie clearly being filmed in real location, which Audry stylishly takes advantage of in gliding panning shots towards the care-free Agathe. Presenting Agathe's criss-crossing riding encounters with men in an anthology manner, Audry charges up a jaunty, cheeky comedic atmosphere via darting push-in shots on the increasingly sleazy men, which Audry twists into glowing close-ups on the butter wouldn't melt in her mouth innocent Agathe. On the last film by his wife before he passed away (Audry's Cadavres en vacances that he co-wrote,would come out in 1963) Pierre Laroche is joined by co-writers Stella Kersova and The Girl with the Golden Eyes (1961-also reviewed) co-scriptwriter Pierre Pelegri,for a screenplay which heightens Audry's major theme across her works of women's independence into a Road Movie of discovery. The writers make the rather noticeable decision,that Agathe discovers that every single man she meets on her hitch-hike travels, is a sleazy chap who tries to make Agathe fulfill their lustful desires. Never acting on film or TV again, Agathe Aems gives a charming turn as Agathe,thanks to blending naive innocence with enticing, sugary sweet flirting.Turning Agathe's Road Movie into an exciting adventure, Audry packs the supporting cast of slimeball lads with an incredible selection of actors,with Noel-Noel, Pierre Brasseur, Robert Hossein, Daniel Gelin and Lino Ventura all hitting their cheeky punch-lines, as Agathe sets off to hitch-hike. |
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Post by manfromplanetx on Apr 22, 2021 7:49:18 GMT
No Exit (1954)10. Hi there MDF ... Thanks so much for your French lesson & great reviews on the films of Jacqueline Audry , I am very excited to learn of this film in particular, rather timely for me, have added No Exit & Olivia to an order I was filling, both are now on the way...
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Post by manfromplanetx on Apr 22, 2021 23:18:04 GMT
J'étais une aventurière, I Was an Adventuress (1938) Dir. Raymond Bernard. " What Charm, What Harmony , What Radiance..."The many adventures of dynamic beauty Vera Vronsky (Edwige Feuillère) who with the help of two likeable accomplices lure vulnerable rich men with elaborate scams involving fake “valuable” jewelry pieces… Inevitably Vera falls for a handsome victim, life seems complete, in each other’s arms the story could have ended, however this tale is not over yet. Unluckily Vera’s past unexpectedly resurfaces. Her former partners in crime are now broke and unable to replace her devious charms, Désormeaux (Jean-Max) in particular, pursues her hinting at blackmail if she does not comply… This lightly humorous comedy/drama is a highly entertaining classic from the broad cinematic spectrum of director Raymond Bernard. It is a worldly comedy of elegant characters and lavish social settings, distinctly Classic French with a hint of American style comedies of the time, notably those of Ernst Lubitsch…  
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Post by manfromplanetx on May 9, 2021 23:30:05 GMT
No Exit (1954)10. Taking on Jean-Paul Sartre's classic play, the screenplay by Audry's husband/ regular collaborator Pierre Laroche superbly adapts the one location origins into a cinematic nightmare gallery, via gripping, Film Noir flashbacks unveiling the vicious misdeeds of the three strangers, and the ripe cynical aftermath they have left behind, as Laroche ushers into a hotel with no exit. "Life begins on the other side of despair." Wow !! what a film MDF... I read Jean-Paul Sartre in my late teens so was fascinated to see this adaptation and thrilled to learn that Sartre also collaborated with the script. The film is a haunting unsettling tale one that uniquely evolves into an intricate existential philosophical drama. As I remember with the novel Nausea, the density of this work is going to linger for some time. Great credit to the director Jacqueline Audry and the cast of characters who bring to life the dramatic intensity the essential essence of the plays original intent. "L'enfer, c'est les autres" , "Hell is other people".... Thanks again for the excellent recommendation... No Exit !!
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Post by wmcclain on Jun 8, 2021 21:33:10 GMT
Judex (1963), directed by Georges Franju. A criminal banker is getting threatening messages from the mysterious "Judex" ("Judge" or "Avenger"). Mend your ways or else. The evil-doer chooses "else". The Shadow-like Judex is a master of disguise, an expert conjurer with a secret lair and advanced video technology with a team of loyal masked minions. This is an homage to a French silent serial -- Judex (1916) -- which I have not seen. The respectful treatment causes some problems in slow pacing and narrative slackness, but the joy of old-time thrills is still there. The plot is ludicrous: non-stop kidnappings, escapes and recaptures, cunning plans that make no sense. Incredible coincidences like the clever boy who is on hand for every important plot development. My favorite such: an inept private detective is waiting outside a building he cannot get into when a circus wagon pulls up and out jumps an old school friend who ran away to become an acrobat. She scales the outside of building and has a rooftop fight with the chief villainess. They are both clad in skin-tight leotards and that is pretty exciting. Édith Scob, the banker's much-kidnapped innocent daughter, was the masked Christiane in the director's Eyes Without a Face (1960). Maurice Jarre score. My thumbnails are from the Criterion DVD. They also have a Blu-ray edition. 
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Post by morrisondylanfan on Feb 15, 2023 3:38:27 GMT
Hi all,I recently signed up for Mubi, and last night watched:
Masques (1987)8.
“We can only help those who have the strength to fight.”
Merrily having the band on the TV show within a film play the theme tune to Alfred Hitchcock Presents, and pouring an (intentional) syrupy love score by his son Matthieu over Wolf’s romantic embrace of Catherine, co-writer (with occasional collaborator Odile Barski) / directing auteur Claude Chabrol & The Umbrellas of Cherbourg (1964-also reviewed) cinematographer Jean Rabier serve up a mischievous atmosphere, scanning over the luxury meals Legagneur presents to his family and guest every day, (food being a major recurring motif in Chabrol’s works) and landing on close-ups of the residences dressed in colour coded fashions, reflecting the flashy lifestyle of those in the household.
Listening in on a conversation between Wolf and Legagneur with an excellent crane shot that runs across the vast courtyard of the household, and goes through a window in order to eavesdrop, Chabrol continues to expand on his distinctive, fluid French New Wave camera moves, via gliding arc shots and elegantly composed reflective shots in mirrors, shining on the doubts Wolf has over the discreet charms of Legagneur.
Lapping up cheers from the crowd, Philippe Noiret gives a tasty performance as Legagneur, whose grin is half wide-smile,and half murderous snarl, whilst Robin Renucci gives a great calm, introvert performance as Wolf, whose shell Renucci snaps open,as Wolf’s questioning of Legagneur becomes more inquisitive.
Reuniting with Chabrol round the dining table, Bernadette Lafont gives a delightful performance as a masseuse, who Lefont has jump about between the gossip exchanges with Wolf and Legagneur, whilst in her debut performance, Anne Brochet gives a wonderfully hazy performance as Catherine, who Brochet has become increasingly visible with fear,as Legagneur needles her with his deadly plan.
Following Wolf wearing a mask as a reporter in order to hide his true identity from Legagneur, the screenplay by Barski and Chabrol builds on Chabrol’s major recurring theme in his works of exposing a decaying, viciousness barely hidden behind the decadent livelihood worn by those who partake in the discreet charm of the bourgeoisie, which the writers strike here with a wicked comedic streak in Legagneur’s growing passive-aggressive dialogue towards Wolf,who once he uncovers the mystery, decides to leave everything unmasked.
My CC ranking from best to worst:
This Man Must Die.
The Cry of the Owl
Hell/L'enfer
Line of Demarcation
Alice or The Last Escapade
Les Biches
Code Name: Tiger
La parure
À double tour
Le Petit Fût
Masques
Champagne Murders
Le Boucher
Madame Bovary
Comedy of Power
La Cérémonie
The Girl Cut in Two
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Post by morrisondylanfan on Feb 21, 2023 3:04:20 GMT
Hi all, before going to a recent 35MM screening of Master and Commander: The Far Side of the World (2003), I went to a DVD/ Blu-Ray shop,and found this film.
The 400 Blows (1959) 6.
“Oh, I lie now and then, I suppose. Sometimes I'd tell them the truth and they still wouldn't believe me, so I prefer to lie.”
For the first production in France to be shot in the anamorphic (2.35:1) widescreen format, co-writer (with Marcel Moussy for the first of two times) / directing auteur Francois Truffaut & Joy House (1964-also reviewed) cinematographer Henri Decae follow Antoine and Rene playing truant with ultra-stylized extended hand-held tracking shots, (a major recurring motif in Truffaut’s works) kept at the height level of the young teenagers, which Truffaut weaves through the bustling streets with the duo.
As Roy Armes highlights in the excellent book French Cinema since 1946 Volume 2: The Personal Style, the screenplay by Truffaut and Moussy stands sharply at odds with the free spirited nature Truffaut attempting to catch in the directing, via taking an extremely conventional approach to the script, that dips into the Melodrama from the bickering between Antoine’s parents (played with a warmth by Albert Remy and Claire Maurier) turning out to be more serious than it initially appeared, and Antoine (played with an enthusiastic rebellious streak by running into the the juvenile delinquent reform system.
Mentioned by school friend Robert Lachenay in the audio commentary that at school he was closer to the spirit of Antoine, whilst his friend/ the future film maker was more reserved and quiet, this difference from childhood comes across vividly in Truffaut's attempt to serve a slice of life, due to the writers remaining completely detached from exploring the psychological side of Antoine, whose rebellion and trouble making is only touched on by the writers, at a surface level.
Revealing later that he was pleased about being able to dub in the dialogue after production, due to this allowing for the possibility to film on busy streets, without concern over what impact it would have on dialogue being heard, Truffaut displays every corner of the real locations, with long, fluid French New Wave (FNW) panning shots from above, drawing an intimate atmosphere as the audience observes the unfolding events on the street, as the camera descends to rough wide-shots displaying the confined foundation of the Doinel household, which is snapped by Truffaut with a poetic FNW freeze frame final shot,on the loneliness of the long distance runner.
My FT ranking:
1:Shoot The Piano Player
2:The Wild Child
3:The Bride Wore Black
4:The Last Metro
5:The Soft Skin
6:The Story of Adele H.
7:Finally Sunday
8:The Woman Next Door
9:Fahrenheit 451
10:A Gorgeous Girl Like Me
11:Small Change
12:Love on the Run
13:The 400 Blows- New Entry.
14:Mississippi Mermaid
15:Jules and Jim
16: Day For Night
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Post by hi224 on Feb 21, 2023 21:20:00 GMT
After movies from Hollywood, Japan and the UK, I have seen more French movies than movies of any other language. I must say that I have only known 2 or 3 French people in all my life and I have very little knowledge of French culture (if any at all). But French movies do give me some insight into France and that's why I love them.
Whenever it comes to French film industry, the name that comes to my mind instantly is that of Jean Gabin. I have seen many movies of Jean Gabin and appreciated them all. He has a strange kind of face but
has given some remarkably good performances such as in La grande illusion, Touchez Pas au Grisbi and Le Jour Se Leve. Another person that I admire from French film industry is Henri-Georges Clouzot. Must say that I have not seen movies like "Wages of Fear" from any other director. An actress that I must mention that I admire a lot is Arletty. I remember I used to talk about her a lot with a French poster on old IMDB who said she had met Arletty once. Areltty lived a very fascinating but tragic life.
In this thread please share your favourite films, directors and actors from France. Also remember that some non-French directors such as Carl Theodor Dreyer and great Luis Bunuel have made films in French too. Make sure to discuss those films as well if you liked them.
My top ten French movie list that I would highly recommend to others would be made made up of:
1. Children of Paradise (1945) 2. The Wages of Fear (1953) 3. The 400 Blows (1959) 4. La belle et la bête (1946) 5. The Rules of the Game (1939) 6. Le Trou (1960) 7. A Man Escaped (1956) 8. Au Revoir les Enfants (1987) 9. Breathless (1960) 10. Army of Shadows (1969)
Do you like Melville particularly? |
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Post by timshelboy on Feb 22, 2023 1:24:56 GMT
Hi all,I recently signed up for Mubi, and last night watched: Masques (1987)8. “We can only help those who have the strength to fight.” Merrily having the band on the TV show within a film play the theme tune to Alfred Hitchcock Presents, and pouring an (intentional) syrupy love score by his son Matthieu over Wolf’s romantic embrace of Catherine, co-writer (with occasional collaborator Odile Barski) / directing auteur Claude Chabrol & The Umbrellas of Cherbourg (1964-also reviewed) cinematographer Jean Rabier serve up a mischievous atmosphere, scanning over the luxury meals Legagneur presents to his family and guest every day, (food being a major recurring motif in Chabrol’s works) and landing on close-ups of the residences dressed in colour coded fashions, reflecting the flashy lifestyle of those in the household. Listening in on a conversation between Wolf and Legagneur with an excellent crane shot that runs across the vast courtyard of the household, and goes through a window in order to eavesdrop, Chabrol continues to expand on his distinctive, fluid French New Wave camera moves, via gliding arc shots and elegantly composed reflective shots in mirrors, shining on the doubts Wolf has over the discreet charms of Legagneur. Lapping up cheers from the crowd, Philippe Noiret gives a tasty performance as Legagneur, whose grin is half wide-smile,and half murderous snarl, whilst Robin Renucci gives a great calm, introvert performance as Wolf, whose shell Renucci snaps open,as Wolf’s questioning of Legagneur becomes more inquisitive. Reuniting with Chabrol round the dining table, Bernadette Lafont gives a delightful performance as a masseuse, who Lefont has jump about between the gossip exchanges with Wolf and Legagneur, whilst in her debut performance, Anne Brochet gives a wonderfully hazy performance as Catherine, who Brochet has become increasingly visible with fear,as Legagneur needles her with his deadly plan. Following Wolf wearing a mask as a reporter in order to hide his true identity from Legagneur, the screenplay by Barski and Chabrol builds on Chabrol’s major recurring theme in his works of exposing a decaying, viciousness barely hidden behind the decadent livelihood worn by those who partake in the discreet charm of the bourgeoisie, which the writers strike here with a wicked comedic streak in Legagneur’s growing passive-aggressive dialogue towards Wolf,who once he uncovers the mystery, decides to leave everything unmasked. My CC ranking from best to worst: This Man Must Die. The Cry of the Owl Hell/L'enfer Line of Demarcation Alice or The Last Escapade Les Biches Code Name: Tiger La parure À double tour Le Petit Fût Masques Champagne Murders Le Boucher Madame Bovary Comedy of Power La Cérémonie The Girl Cut in Two I recommend THE ROAD TO CORINTHE - sunny spy nonsense with Jean Seberg and BLOOD WEDDING ROAD TO CORINTHE |
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Post by timshelboy on Feb 22, 2023 1:34:49 GMT
No Exit (1954)10. Taking on Jean-Paul Sartre's classic play, the screenplay by Audry's husband/ regular collaborator Pierre Laroche superbly adapts the one location origins into a cinematic nightmare gallery, via gripping, Film Noir flashbacks unveiling the vicious misdeeds of the three strangers, and the ripe cynical aftermath they have left behind, as Laroche ushers into a hotel with no exit. "Life begins on the other side of despair." Wow !! what a film MDF... I read Jean-Paul Sartre in my late teens so was fascinated to see this adaptation and thrilled to learn that Sartre also collaborated with the script. The film is a haunting unsettling tale one that uniquely evolves into an intricate existential philosophical drama. As I remember with the novel Nausea, the density of this work is going to linger for some time. Great credit to the director Jacqueline Audry and the cast of characters who bring to life the dramatic intensity the essential essence of the plays original intent. "L'enfer, c'est les autres" , "Hell is other people".... Thanks again for the excellent recommendation... No Exit !!
There is a 1962 version with Viveca Lindfors - also a UK TV version with Jeanne Moreau - if you source either please let me know...  |
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Post by morrisondylanfan on Mar 10, 2023 1:58:19 GMT
"Life begins on the other side of despair." Wow !! what a film MDF... I read Jean-Paul Sartre in my late teens so was fascinated to see this adaptation and thrilled to learn that Sartre also collaborated with the script. The film is a haunting unsettling tale one that uniquely evolves into an intricate existential philosophical drama. As I remember with the novel Nausea, the density of this work is going to linger for some time. Great credit to the director Jacqueline Audry and the cast of characters who bring to life the dramatic intensity the essential essence of the plays original intent. "L'enfer, c'est les autres" , "Hell is other people".... Thanks again for the excellent recommendation... No Exit !!
There is a 1962 version with Viveca Lindfors - also a UK TV version with Jeanne Moreau - if you source either please let me know... Hi Tim,I hope you are having a good start to the weekend. I've been searching round for this No Exit,and whilst there is a trailer on YT, a number of reviews/posts on IMDb and Letterboxd appear to confuse a BBC Pinter adaptation of this,for the Moreau one! |
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Post by morrisondylanfan on Mar 10, 2023 2:00:46 GMT
Hi all.after sitting on a USB since 2019 (!), I finally saw this film, and found it to be another gem from Rene Clement.
Joy House (1964) 10.
“The lock is temperamental, one must learn how to tame it.”
Finding Marc rushing down the street with a top-down perspective overhead shot moving to the hypnotic,free spirited Jazz score from Lalo Schifrin, (future composer of the Mission Impossible theme, with this being Schifrin’s fifth credit) co-writer (with Pascal Jardin and Dead Calm novelist Charles Williams) / directing auteur Rene Clement & Elevator to the Gallows (1958-also reviewed) / his regular
cinematographer of this period Henri Decae, lock Marc in to an ultra-stylized house of mirrors.
Running across the grounds of the of the house with long lens, narrow tracking shots and zoom-ins (long narrow shots being a major recurring motif in Clement’s works) which build a claustrophobic Neo-Noir atmosphere, that Clement and Decae have shine by making all the car roofs see-through/ glass and dented with subtle light distortion, emphasizing Marc being unable to get a clear vision of Barbara and Melinda’s true intentions, spiraled out by Clement with spectacular, experimental layered mirror shots, reflecting Marc’s desires in a seductive dance number, that gets shattered by Clement into a startling, frenzy of freeze frames on Marc’s hopes being left broken.
Escaping by the scruff of his neck from the hands of Vincent, (played with a snarl by Andre Oumansky) the screenplay by Jardin, Williams and Clement superbly adapt Day Keene’s novel by giving Neo-Noir loner Marc a false sense of security in the confined location (closed off settings being a major recurring theme in Clement’s films) as he is welcomed by Femme Fatale duo Melinda and Barbara, who the writers intelligently use to string Marc into doubt/ sense of ambiguity over the image of the relationship the duo present, which is wickedly cut by Melinda, when she reveals that Marc is banned from leaving this Noir castle.
Reuniting with Clement after Purple Noon (1960-also reviewed) Alain Delon gives a terrific performance as Marc, who Delon has enter the household with a anxiety of being caught by Vincent and his thugs, which gradually gets removed, as Marc becomes transfixed by Melinda and Barbara, until he suddenly gets clawed, at the moment Delon displays Marc finally having a glimpse of hope that he can get away free.
Sitting on opposite sides of the home, Jane Fonda and Lola Albright give outstanding performances as Melinda and Barbara, with Fonda displaying a self-aware seductiveness, as Melinda presents an innocent face,while slyly wrapping Marc round her little finger, and Albright glides round the location like a decadent heiress disconnected from the outside world, until an unexpected phone call causes Albright to leave Barbara screaming to the shattering of her house of joy.
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