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Post by morrisondylanfan on Sept 5, 2018 18:06:06 GMT
Hi there Aj_June thanks a very interesting thread developing... Le Grand Jeu (1934) was directed by Jacques Feyder It was co-written by Charles Spaak who is widely acclaimed particularly for his work in one of the French cinema's richest periods during the 1930s. His screenplays are marked by a concern for realistic detail with sharply written dialogue, and are often fatalistic in tone. Le Grand Jeu is an excellent romantic drama set in the colonial world of French North Africa and set against the background of the French Foreign Legion. The marvellous film is a captivating early example of poetic realism in French cinema, it is a key film that defined a characteristically French mood of romantic despair, a mood shared by many classics that followed, such as Pépé le Moko, Hôtel du Nord, Le Quai des brumes, and Le jour se lève. Hi Planet X,I hope you are having a good week,and I really enjoyed reading your take on Le Grand Jeu (LGJ) (later remade by Robert Siodmak as Card of Fate in 1954.) Spoiler warning: One of the most remarkable things I found was how before Vertigo and De Palma's Obsession, LGJ studies a man developing an obsession to transform a woman, (in this case an outstanding Marie Bell as Irma) into his ideal image of lost love Florence, with the Noir brothel setting giving the title an extra seediness,as Irma is encouraged by the madam to fulfil Pierre's fantasy, even if he is visibly appearing to crack. Spoilers finished. Apologises to all for possibly going a bit off-topic here, but with LGJ/Vertigo and Obsession all having a man obsessed with the image of his lost love,are there any films where it is a woman obsessed with her lost love? From LGJ:
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Post by morrisondylanfan on Sept 5, 2018 21:29:17 GMT
Hi AJ,thanks for starting this thread,I've really enjoyed reading the replies. Now it is time,for what I suspect will be an unpopular opinion After seeing this thread appear,I decided it was time to watch my first ever JLG film. Alphaville (1965) 5 Reuniting with Jean-Luc Godard (JLG) after appearing in the anthology The Seven Deadly Sins (1962) Eddie Constantine gives a very good performance as Lemmy Caution,with Constantine using his hard-nosed image to make Lemmy dazed and confused in surrounding which do not run on his old-school motives. On the DVD making of,a number of the crew state that this was the last time her romance with JLG looked stable on set,Anna Karina reflects the romance off-screen in a blissful performance as von Braun,with Karina capturing the misty, dream-logic vibes. Turning the streets of Paris Sci-Fi without any sets, JLG & cinematographer Raoul Coutard use the modern architecture round the outskirts of Paris to draw a silhouette of a futuristic city. Continuing the collaboration with Coutard in extended,fluid French New Wave panning shots, JLG and Coutard bend Alphaville’s groovy final meltdown with close-up paranoia of mics swinging across the screen recording all that Lemmy says. Rolling Sci-Fi,Comic-Books,Orwell’s 1984 and Film Noir into a free-wheeling spoof, the wit in JLG’s script evaporates before it sparks, with the light, playful appearance of the flick being crushed by overused, garbled (substantially improvised) philosophical narration/ psycho-babble rants from the Big Brother-style rulers of Alphaville.
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Post by hi224 on Sept 6, 2018 1:28:27 GMT
anyone see beats per minute at all?.
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Post by Aj_June on Sept 6, 2018 12:24:29 GMT
Hi AJ,thanks for starting this thread,I've really enjoyed reading the replies. Now it is time,for what I suspect will be an unpopular opinion After seeing this thread appear,I decided it was time to watch my first ever JLG film. Alphaville (1965) 5 Reuniting with Jean-Luc Godard (JLG) after appearing in the anthology The Seven Deadly Sins (1962) Eddie Constantine gives a very good performance as Lemmy Caution,with Constantine using his hard-nosed image to make Lemmy dazed and confused in surrounding which do not run on his old-school motives. On the DVD making of,a number of the crew state that this was the last time her romance with JLG looked stable on set,Anna Karina reflects the romance off-screen in a blissful performance as von Braun,with Karina capturing the misty, dream-logic vibes. Turning the streets of Paris Sci-Fi without any sets, JLG & cinematographer Raoul Coutard use the modern architecture round the outskirts of Paris to draw a silhouette of a futuristic city. Continuing the collaboration with Coutard in extended,fluid French New Wave panning shots, JLG and Coutard bend Alphaville’s groovy final meltdown with close-up paranoia of mics swinging across the screen recording all that Lemmy says. Rolling Sci-Fi,Comic-Books,Orwell’s 1984 and Film Noir into a free-wheeling spoof, the wit in JLG’s script evaporates before it sparks, with the light, playful appearance of the flick being crushed by overused, garbled (substantially improvised) philosophical narration/ psycho-babble rants from the Big Brother-style rulers of Alphaville. Hi Dylan,
Thanks for sharing your views. I have not seen Alphaville but from what I have read in many discussions, it is a movie that seriously divides people. There are people who like it or dislike it and very few in the middle. Godard himself is rated as one of the greats but he is not as unanimously rated great as Jean Renoir or many other French directors. If I ever see Alphaville any-time soon I may return to your post. pimpinainteasy probably liked it.
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Post by Aj_June on Sept 6, 2018 14:11:57 GMT
anyone see beats per minute at all?. Sorry, I have no idea about that one. Hope someone has seen here.
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Post by morrisondylanfan on Sept 6, 2018 21:43:11 GMT
Hi AJ,thanks for starting this thread,I've really enjoyed reading the replies. Now it is time,for what I suspect will be an unpopular opinion After seeing this thread appear,I decided it was time to watch my first ever JLG film. Alphaville (1965) 5 Reuniting with Jean-Luc Godard (JLG) after appearing in the anthology The Seven Deadly Sins (1962) Eddie Constantine gives a very good performance as Lemmy Caution,with Constantine using his hard-nosed image to make Lemmy dazed and confused in surrounding which do not run on his old-school motives. On the DVD making of,a number of the crew state that this was the last time her romance with JLG looked stable on set,Anna Karina reflects the romance off-screen in a blissful performance as von Braun,with Karina capturing the misty, dream-logic vibes. Turning the streets of Paris Sci-Fi without any sets, JLG & cinematographer Raoul Coutard use the modern architecture round the outskirts of Paris to draw a silhouette of a futuristic city. Continuing the collaboration with Coutard in extended,fluid French New Wave panning shots, JLG and Coutard bend Alphaville’s groovy final meltdown with close-up paranoia of mics swinging across the screen recording all that Lemmy says. Rolling Sci-Fi,Comic-Books,Orwell’s 1984 and Film Noir into a free-wheeling spoof, the wit in JLG’s script evaporates before it sparks, with the light, playful appearance of the flick being crushed by overused, garbled (substantially improvised) philosophical narration/ psycho-babble rants from the Big Brother-style rulers of Alphaville. Hi Dylan,
Thanks for sharing your views. I have not seen Alphaville but from what I have read in many discussions, it is a movie that seriously divides people. There are people who like it or dislike it and very few in the middle. Godard himself is rated as one of the greats but he is not as unanimously rated great as Jean Renoir or many other French directors. If I ever see Alphaville any-time soon I may return to your post. pimpinainteasy probably liked it. Thanks AJ,with JLG, the other films I have of his waiting to be seen are a few of his shorts,Breathless and the anthology movie The Oldest Profession(1967) I've just been checking the Sight & Sound critics list,where JLG was placed 3rd,here is the 2002 list : 1. Orson Welles 2. Alfred Hitchcock 3. Jean-Luc Godard 4. Jean Renoir 5. Stanley Kubrick 6. Akira Kurosawa 7. Federico Fellini 8. John Ford 9. Sergei Eisenstein 10. Francis Ford Coppola 10. Yasujiro Ozu web.archive.org/web/20110623182355/http://www.bfi.org.uk/sightandsound/topten/poll/critics-directors.html
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Post by morrisondylanfan on Sept 6, 2018 22:38:28 GMT
Hi all,after the JLG film yesterday,I decided to follow it with a French movie that I've been meaning to watch for a while. Chéri-Bibi (1955) 7. This is a movie that I think fans of the "gentlemen thief" genre would enjoy. Departing from the “social issues” of his other films, director Marcello Pagliero & cinematographer Mario Montuori leap into a swashbuckling atmosphere of high-seas Adventure,and the dashing, gentlemen thief genres. One of the few French films shot in colour in the mid-50’s, Pagliero skilfully compacts the set-up and the closing coda with a young busker and a barker telling Bibi’s story in a market square, freeing the rest of the flick to swing into Bibi’s escapades in the elegantly dressed high society,and the frantic rush for his real identity not to be unmasked. Adapting one of the few Gaston Leroux books not to be centred round a murder mystery, the screenplay by Paul Mesnier matches Pagliero’s visual slickness in keeping everything at a surface level, with the film moving at a fast pace thanks to Mesnier having Bibi twist and charm his way out of trouble with devilish glee. Running rings round those after him, Jean Richard gives a witty performance,with Richard’s turning him into a ladies man who uses charms with ease, and keeps people from finding out that he is a sour Chéri.
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Post by Fox in the Snow on Sept 7, 2018 4:38:17 GMT
Hi Dylan,
Thanks for sharing your views. I have not seen Alphaville but from what I have read in many discussions, it is a movie that seriously divides people. There are people who like it or dislike it and very few in the middle. Godard himself is rated as one of the greats but he is not as unanimously rated great as Jean Renoir or many other French directors. If I ever see Alphaville any-time soon I may return to your post. pimpinainteasy probably liked it. Thanks AJ,with JLG, the other films I have of his waiting to be seen are a few of his shorts,Breathless and the anthology movie The Oldest Profession(1967) I've just been checking the Sight & Sound critics list,where JLG was placed 3rd,here is the 2002 list : 1. Orson Welles 2. Alfred Hitchcock 3. Jean-Luc Godard I'm a big fan of what I've seen of Godard, which is pretty much just his "first wave" films of 1960-1967. Alphaville is one of my favorites, but I can see how it may come of as a little clunky to today's audiences. While I appreciate Godard I can certainly see how he would be divisive. His work is very singular and more than just about any other "popular" director attempts to distance itself from traditional narrative cinema. That being said, however you feel about his work, he is almost inarguably one of the most important and influential directors of the second half of the twentieth century and I feel his place at number #3 on that list is deserved. I recently watch a few of the "experimental" documentaries he did in the late 1960s and early 1970s and while they were fascinating and interesting they were pretty heavy going, very dry and opaque.
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Post by manfromplanetx on Sept 7, 2018 22:44:48 GMT
Hi there Aj_June thanks a very interesting thread developing... Le Grand Jeu (1934) Hi Planet X,I hope you are having a good week,and I really enjoyed reading your take on Le Grand Jeu (LGJ) (later remade by Robert Siodmak as Card of Fate in 1954.) Apologises to all for possibly going a bit off-topic here, but with LGJ/Vertigo and Obsession all having a man obsessed with the image of his lost love,are there any films where it is a woman obsessed with her lost love?
Hi there MDF an interesting question you raise... The closest film with such an element I can think of is , Le Retour de Martin Guerre (1982) Daniel Vigne . Starring Gérard Depardieu and Nathalie Baye. it is based on actual historical court records & accounts. The compelling drama film tells of the infamous 16th century case of imposture involving Martin Guerre and his wife Bertrande Martin Guerre had long ago left his village, his wife and child, several years later a man claiming to be him reappears. With similar looks and detailed knowledge of Guerre's life, even Martin Guerre's uncle and four sisters, as well as his wife Bertrande, all believe the man to be Guerre, as he claims. The new Martin moves in with Bertrande and son, and over three years they have two more children together. Some in the village have always been suspicious and doubts linger, but Bertrande remains on his side... The puzzling affair was eventually brought before the courts, on trial the new Martin and Bertrande The fascinating historical case continues to be studied and dramatized in film, theatre and literature.
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Post by morrisondylanfan on Sept 17, 2018 2:00:52 GMT
Hi all,in a post a few weeks ago on this thread, timshelboy mentioned that his most wanted French film is LES LOUVES/DEMONIAC/THE SHE WOLVES. Two weeks ago,I got hold of the film,with Eng Subs. In the past,I've seen all 3 films Isabelle Huppert made in 1981/the two Isabelle Adjani did in 1983 (all of which come highly recommended),and after getting lucky in finding them all,I over the last four days have seen all 4 of Jeanne Moreau's 1957 titles. “The fish are as wary as the people here.” .She-Wolves/Demonic 10. Pouring blood on the tracks as Larauch and Pradal’s friendship hits the rails, co-writer/ director Luis Saslavsky is joined by Night is Not For Sleep (1958) cinematographer Robert Juillard in making these two POW’s escape to a Film Noir hell hole, where the sound of Occupying Nazi troops bellows down the streets as they kill those out during the curfew, and attempts later by Larauch to create a new image of himself are shattered by the cold glances from the locals in panning shots down the shop registers. Welcoming Larauch to the Vanaux household, Saslavsky unveils the family mansion with a rich Gothic Noir atmosphere, lit in tightening close-ups layered with deep shadows that gives the inhabitants a haunted death face appearance. Giving this title a personal quality by adapting their own novel (with Saslavsky)Thomas Narcejac & Pierre Boileau highlight their distinctive characteristics in a gripping fashion, as the supernatural (but not horror) visions of Agnès keep Larauch haunted by the past, whilst struggling to forge a new mask. Keeping Larauch the lone male voice of the household, Boileau-Narcejac turn the “ Woman's Picture” inside out via spectacular, subtle dialogue tugging at the Film Noir poison sisters Hélène and Agnès glaze themselves in, and ambiguity being strung by the arrival of Larauch’s calculating “sister” Julia. Calling Larauch back to his past like a siren,Jeanne Moreau gives an enchanting performance as Agnès, whose trance-like state is whipped up by Moreau to heighten Femme Fatale mistrust from all who catch her gaze. Visiting for a family reunion, Madeleine Robinson gives a magnetic performance as Julia, who enters with such a laid-back manner Larauch openly wonders how she has not called him out, until Robinson allows Julia’s mask to slip. Fighting to change the track his life is on, François Périer is incredibly intense as Larauch, hit by the fear of Film Noir loneliness that he can never truly escape his dirt-poor past. Wrapping Larauch round her little finger, Micheline Presle unleashes Hélène as an icy Femme Fatale, which cracks the mild-manner, thin smile of her mask,to reveal the fangs of the she-wolves. “By handling all that money you’ve forgotten its value.” L'étrange Monsieur Steve .9 Looking incredibly uncomfortable in his own skin, Philippe Lemaire gives a pitch-perfect performance as meek Villard,a Film Noir loner with such a weak spine he folds in from the merest shake of Steve’s fists,and a lone kiss from Florence. Backed by Lino Ventura’s blunt “heavy” Denis, Armand Mestral is gives a wicked, dastardly performance as Steve, who Mestral has strong-arm Villard into following all his orders with strong-arm charms. Tangling Villard up with Steve,Jeanne Moreau gives a seductive twist as Femme Fatale Florence, via Moreau making each chance she gives Villard to get closer,being an underhanded way to trap him in Florence’s web. For their adaptation of Marcel Prêtre’s novel, writers Raymond Bailly and Frédéric Dard criss-cross genres in a transfixing style, as Florence and Villard’s first encounter has the spark of a light comedy, which bubbles up to a break-neck heist that Villard is placed at the centre of the planning, until it fizzes out into Villard’s tense attempt to change his Steve and Florence cards. Gripping onto a theme cast across Dard’s Noir’s, the writers sharply play the ambiguity in Florence’s “romance” with Villard, that turns from an initial burst of passion to a simmering sinister atmosphere. Casting Philippe-Gérard’s silk Jazz score over the film, Bailly & cinematographer Jacques “The Rules of the Game” Lemare subtly squeeze Villard into the corner of the screen, and drill the Film Noir tension with a thrilling heist set-piece, where Villard has to follow the orders of Monsieur Steve. “I don’t know how to act,but I know how to sew.” Three Days to Live. 8. The lone non-Noir title she made in 1957, Jeanne Moreau gives a sweet performance as Fortin,with Moreau’s measured approach allowing Fortin to offer a note of calm in the middle of chaos. Terrified over crossing paths again with Lino Ventura’s imposing Lino Ferrari, Daniel Gélin gives a terrific, on-edge performance as Belin,who leaps with bags of energy from his new found-fame, but leaps back to fear over the event that gave him this fame. Opening with the curtain going down on a show, co-writer/(with Michel Audiard & Guy Bertret) director Gilles Grangier teams up with The Wages of Fear cameraman Louis Née and cinematographer Armand Thirard to playfully go behind the scenes of Belin’s stage shows, via striking flickers of light opening the high stakes of each production, and the stakes on Belin’s life. Swimming in Joseph Kosma’s jolly score, the writers put Peter Vanett’s novel on stage with Crime (not Noir) and Comedy zest, as the high-jinxs roll out from Fortin and Belin’s romantic high-drama in front of,and behind the stage curtain, whilst a threatening call from Ferrari, causes Belin to countdown his three days left to live. “Beside barking for the parade,You’ve got to make yourself useful.” Until the Last One .7. Staying away from the crowds, co-writer/(with Michel Audiard and André Duquesne) director Pierre Billon adaptation of Duquesne’s novel goes behind the scenes of the Big Top, which whilst lacking the freaky vibes of fellow circus Noir Nightmare Alley (1947) does have a fitting Film Noir seediness, as ex-prisoner Bastia finds the same double dealing and slippery use of money he experienced in his gang and prison. Attacking it with the same fury Bastia gets from his old buddies, the writers take spiteful jabs at the main threat to cinema of the era: TV. In less than subtle swings, the circus crew openly lament how the circus being screened on TV has led to it losing all the spotlights,and becoming low-rent. Rolling up out of jail, Raymond Pellegrin gives a grubby performance as Bastia-who shoves anyone to the ground who does not follow his old rogue habits, that even rub abrasively when Pellegrin has Bastia try to show a little tenderness towards Gina. Catching the eyes of the crowd and her fellow performers, Jeanne Moreau gives a sweet turn as Gina. Appearing playful when first meeting Bastia, Moreau gets Gina’s hands to grasp in desperation to free Bastia from his old friends. Clawing Bastia with the debt of betrayal he left Paul Meurisse’s towering Ricioni holding,Billon & cinematographer Pierre Petit set the Film Noir fireworks off with winding shots round the side streets Bastia and Ricioni try to hide from sight, lit by a final blaze of smoke and fire,until the last one fades.
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Post by morrisondylanfan on Sept 17, 2018 2:09:21 GMT
My most wanted is LES LOUVES/DEMONIAC/THE SHE WOLVES - a 1957 thriller from the Boileau/Narjac team who wrote LES DIABOLIQUES and the novel which became VERTIGO. Assumed identities , POW camp escapees, murder and blackmail feature , with Francois Perier our hero and Jeanne Moreau, Madeleine Robinson and recent birthday girl Micheline Presle the three different women he becomes involved with. Source for English subbed or dubbed version welcome. Hi timshelboy , I've got some big news for you: I have an English subbed version of LES LOUVES/DEMONIAC/THE SHE WOLVES. You can PM me so I can hopefully sort it out that you can at last watch it. My review: www.imdb.com/review/rw4343503/?ref_=ur_urv
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Post by timshelboy on Sept 17, 2018 17:18:08 GMT
My most wanted is LES LOUVES/DEMONIAC/THE SHE WOLVES - a 1957 thriller from the Boileau/Narjac team who wrote LES DIABOLIQUES and the novel which became VERTIGO. Assumed identities , POW camp escapees, murder and blackmail feature , with Francois Perier our hero and Jeanne Moreau, Madeleine Robinson and recent birthday girl Micheline Presle the three different women he becomes involved with. Source for English subbed or dubbed version welcome. Hi timshelboy , I've got some big news for you: I have an English subbed version of LES LOUVES/DEMONIAC/THE SHE WOLVES. You can PM me so I can hopefully sort it out that you can at last watch it. My review: www.imdb.com/review/rw4343503/?ref_=ur_urvMany thanks morrison - have sent message Impressed at your ability to track it down, and grateful for your generosity tim x
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Post by morrisondylanfan on Sept 17, 2018 21:17:05 GMT
Hi timshelboy , I've got some big news for you: I have an English subbed version of LES LOUVES/DEMONIAC/THE SHE WOLVES. You can PM me so I can hopefully sort it out that you can at last watch it. My review: www.imdb.com/review/rw4343503/?ref_=ur_urvMany thanks morrison - have sent message Impressed at your ability to track it down, and grateful for your generosity tim x Thanks Tim and I've just replied to your PM.
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Post by wmcclain on Sept 29, 2018 17:23:10 GMT
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Post by morrisondylanfan on Oct 11, 2018 2:01:46 GMT
Hi all, after the excellent J-Horror double bill recently,I decided to watch a classic French Horror. The Wolf of the Malveneurs (1943) 8 “I also know that you belong to thousands of strangers, I’m one of them.” Inspired by Conan Doyle's "Hound Of Baskerville”, the screenplay by Jean Féline & Francis Vincent-Bréchignac claws mythical Horror with the deduction mystery skills of Holmes. Holding the family together with some sly Occupation comments on the bourgeois Malveneurs family being detached from the outside world, and Reginald doing chillingly vague “experiments” in his lair on people to find a cure for his wife's heart condition. Sceptical towards the whispers of the family curse, the writers grippingly have Monique and Philippe bouncing clues off each other, each of which causes them to be drawn deeper into the Malveneurs curse. Unleashing the cursed wolf on the Malveneur family, director Guillaume Radot & cinematographer Pierre Montazel capture the fear which has haunted the family for decades with spikes of light creating the shape of the wolf and looming Gothic Horror shadows climbing up the walls of the Malveneur castle. Encountering each mad, decayed member of the Malveneur’s in the castle, Radot brushes the cobwebs away with unsettling, lingering close-ups on the faces of Malveneur, which harden with each question of doubt Philippe raises. Housed in with a brittle Gabrielle Dorziat as Magda and a fantastic,jumping off the deep end Pierre Renoir as “scientist” Reginald de Malveneur, Madeleine Sologne gives an enchanting spin as Monique Valory, with Sologne balancing Valory’s doubts with knife-edge fear over seeing at the door the wolf of the Malveneurs.
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Post by morrisondylanfan on Oct 14, 2018 0:18:34 GMT
Hi all,with Halloween on the way,I decided to view a "new" title from this Horror filmmaker: Jean Rollin's Two Orphan Vampires (1997) 8 Returning to Horror for the first time since the outstanding The Living Dead Girl (1982), writer/directing auteur Jean Rollin proves he has lost none of the magic in hauntingly stilted wide shots against real crumbling churches,with Rollin closely working with cinematographer Norbert Marfaing-Sintes to give the white gown-wearing orphans a ghostly floating appearance. Continuing with the visual theme from Dead Girl of modern items/setting being fitted into a classical Gothic tale, Rollin uses in a highly stylish fashion a circus ring and modern books to capture the passage of time Louise and Henriette have lived, all in a richly atmospheric blue light which brings light to the orphans vision, and a macabre mood across the screen.Adapting his own novel, Rollin brings a clarity from taking on his own, earlier creation. Allowing the orphans to only gain their sights when away from the Catholic orphanage, Rollin displays an impressive subtle quality in the deconstruction of blind faith/beliefs. Making the duo rebellious vampire teenagers, Rollin sharply contrasts the free-spirited “fun” they have killing,smoking and being able to see, round the side streets outside, with the façade of the belief that the Catholic orphanage staff hold that the two are blind from evil. Continuing to build on a major theme in Living Dead Girl, Rollin has the orphans feel completely isolated from everyone else in the world, with the duo revealing in poetic, fairy tale dialogue their inability to clearly remember their past lives. Joined by the welcomed sight of the in a dream state Tina Aumont and Brigitte Lahaie,Alexandra Pic and Isabelle Teboul give outstanding debut performances as Henriette and Louise, whose blood-stained smiles are balanced by a delicate, sisterly bond Pic and Teboul give the two orphan vampires. My Rollin rankings (from best-worst) Fascination Living Dead Girl Two Orphan Vampires Sidewalks of Bangkok The Escapees
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Post by teleadm on Oct 14, 2018 2:11:00 GMT
As I wrote on Japanese movie thread, I enjoy reading all your posts, but I have nothing to add that is of any value.
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Post by Aj_June on Oct 14, 2018 3:58:27 GMT
As I wrote on Japanese movie thread, I enjoy reading all your posts, but I have nothing to add that is of any value. You are most welcome, teleadm. I am glad you enjoy reading the posts in this thread. So many members have made it a great thread and I myself feel not able to say much because of the lack of many movies I have seen in the French language. Do not worry about not contributing in this thread. You already contribute a lot on the board in general. Edit: And of course letting others know that you appreciate their posts is a beautiful contribution in itself!
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Post by hitchcockthelegend on Oct 14, 2018 17:59:05 GMT
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Post by Nalkarj on Oct 14, 2018 18:19:09 GMT
Marvellous thread, and so many that I’ve put on my to-see list; as much as I love French cinema, I’ve seen little compared to you fellas! I’m particularly fond of French crime-thrillers, as are many posters here, it seems: Clouzot, Chabrol. Has anyone here seen Chabrol’s bilingual Le scandale/ The Champagne Murders (’67)? It didn’t do very well at the box-office, but I thought it rather good, and it managed to surprise me at the end. Happy to see a mention of Indochine, which I thought amazingly effective and epical, especially for a picture that could have easily descended into soap-operatics. Anyone here seen the recent Des hommes et des dieux ( Of Gods and Men), which won a number of awards? Excellent.
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