the AMG clerk wrote :
“Auguste (Georges Wod) goes to a remote Swiss village for a meeting in the course of doing some research. Instead of meeting his informant there, he comes across a girl who has been thrown out of the house by her writer boyfriend; she is too distracting and he can’t work with her around…”Read More »
here are the two IMDB comments :
“Themroc ” ,what a colossal demagogy! a monumental spate of clichés of the post-68 era.
Deux lions au soleil ” is a different matter ,because there are two actors whose chemistry is perfect.Jean-François Stevenin ( he was a Truffaut’s favorite :”day for night” and mainly the wonderful schoolteacher in “l’argent de poche” ) and Jean-Pierre Sentier ( whom I did not really know) give wonderful performances.Forget the class struggle (as Faraldo finally forgets it during the story) and you have two human beings .Faraldo jettisoned all his post 68 clichés (Why do we work? Why are there wealthy people? Why are we working for peanuts?) which were present at the beginning of the movie but slowly disappear as the story progresses.Read More »
Synopsis(from All Movie Guide):
Living a dismal life taking care of his uncommunicative and nearly blind father, Vincent (Fabrice Luchini), a sculptor, tries to make life better for himself but fails for a variety of reasons.Read More »
SYNOPSIS:
Though he has been having affairs for years, one day when Jacques comes home from being with his mistress, his wife Dominique greets him with tears and demands for affection. After having accepted the situation for so long, it is puzzling to him that she has suddenly grown so demanding. He is not about to leave either woman. Dominique attempts to cope when he brings his mistress home with him, but her inner state is one of increasing hysteria, and tragedy is never very far away.Read More »
Quote:
Not a good movie, though a prime example of audacious, rule-breaking cinema. It’s an early seventies French film shown almost entirely in negative exposure, which in itself makes it worth a watch.
The Package
LE GRAND DEPART (THE GRAND DEPARTURE; 1972) was the only feature directed by the famed French painter and sculptor Martial Raysse. In keeping with the revolutionary spirit of the time, LE GRAND DEPART has no plot to speak of and appears to have been largely made up on the spot. It shares a kinship with such films as BEGOTTEN (1990) and the X-rated short THE OPERATION (1995), both of which experimented with negative exposure (and far more effectively).
For decades LE GRAND DEPART was thought a “lost” film, but in late 2008 it made its DVD debut (in France), to alternately enchant and disappoint viewers anew.Read More »
Synopsis:
A male Parisian driving school owner who goes to see his doctor and complains of feeling run down is pronounced four months pregnant. When the diagnosis is confirmed by a specialist, the result is an international media frenzy.Read More »
Synopsis
Erotic comedy classic 70’s where a Sicilian chaste and naive moving to Milan lost many of her inhibitions.
The Milanese truck driver Nino Bertini, who has run out of water in the radiator at a farm in Sicily where he is on a wine shipment, is attacked by Rosalia Ciubardi who has mistaken him for her fiancé Antonio. Discovered in the barn by Pino and Alfio, the girl’s brothers, Nino, under threat of a sawn-off shotgun, is forced to get married to make up for something that didn’t happen and returns to Milan with his bride.Read More »
Ramprasad is a recent college graduate who finds a job with a finicky man, Bhavani Shankar, who believes that a man without a mustache is a man without a character. Bhavani Shankar is also against any of his employees indulging in recreation of any kind. When Ramprasad is caught by his boss at a soccer match, he has to invent a twin brother, the clean-shaven Laxman Prasad, to save his job. When Bhavani’s daughter falls in love with the clean-shaven Laxman Prasad, and insists on marrying him, and Bhavani insists she should marry Ramprasad, things take a whacky turn. A fake mother and a hilarious chase are other enjoyable features involved in this comedy.Read More »
‘Socrates’ Mirrors the Platonic Touch of Rossellini
Something more than wordplay is involved when one describes Roberto Rossellini’s “Socrates,” which opened yesterday at the New Yorker Theater, as the great Italian director’s most Socratic film, in his most Platonic style.
Although the movie was shot entirely in Spain with lots of correctly costumed extras, who walk around what look to be the freshly painted, spruced-up remains of the sets of Anthony Mann’s unfortunate “Fall of the Roman Empire,” it concedes no more than it absolutely must to the demands of a popular cinema that seeks access to the intellect through visual grandeur and primal emotions.Read More »