1960s

A husband and wife meet three years after their formal separation, when they return to the provincial town where they once lived to pick up their divorce decree.Read More »

A young man is a collector of feminine conquests. One morning, leaving one of his mistresses he is addressed by one of his past flirts. As revenge, she denounces him later to the police as the murderer of her fiance who was found dead the same morning. With the help of his mistresses and some new ones he makes on the road, the young man goes in search of the man he thinks is the killer, then his blond consort with whom he fell in love at the first sight the evening before.Read More »

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Prospero, the deposed King of Milan who lives in exile on a remote island as a sorcerer uses his powers to shipwreck his usurper brother on the island.Read More »

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It’s not unusual for pre-production publicity on a new film to revolve around the star or the director but it’s particularly rare when it focuses on a construction site. In the case of the glossy 1960 soap opera, Strangers When We Meet, directed by Richard Quine, the real star of the movie was the cliff top Bel Air home that was constructed especially for the film by architect Carl Anderson and art director Ross Bellah. Central to the storyline, the house with the ocean view is the vision of architect Larry Coe (Kirk Douglas) who is building it for a successful novelist, Roger Altar (Ernie Kovacs), who wants something different and unique. In the course of construction, Coe, who is bored with his marriage to Eve (Barbara Rush), meets and ardently pursues Maggie Gault (Kim Novak), a sexy, blonde housewife he first encounters at his son’s elementary school when they are dropping off their children.Read More »

A murky, downbeat spy thriller written by José Giovanni and starring Lino Ventura. A French spy in Vienna is suspected of being a double agent, and a colleague of his is sent over to investigate. When the former man is kidnapped by the Russians, his complex network of contacts has to be unravelled in order to trace an important microfilm. The two final ironic twists sort of cancel each other out, but a British director and Michael Caine could have done wonders with this script. Deray’s dry, anonymous matter-of-factness would be more suited to the parable of Un papillon sur l’épaule that he made with Ventura about a decade later.Read More »

YUL is the closest thing to a French New Wave title simply by virtue of the casting of lead actor Charles Denner, a regular Truffaut mascot (The Bride Wore Black, The Man Who Loved Women) as well as a familiar face in films by Claude Lelouch and Costa-Gavras. The title refers to a flight number of a French engineer who arrives in Montreal only to find that the man he’s supposed to meet isn’t in his office. After a bus ride through the city he wanders the streets to kill time, crossing paths with a young girl, striking up a potential romance, and diving into Montreal culture ranging from bowling alleys to a “ye ye” performance in Arab drag to a quirky shooting gallery and even a moment of unexpected tragedy.Read More »

Synopsis:
When swaggering and conceited teddy boy Mike isn’t combing his wavy hair in a stance reminiscent of The Fonz, he’s latching onto each and every female who crosses his slimy path. The guy is bad news and has everybody fooled, except Mr. Dite, an advertising executive and recent recipient of Mike’s services as a whip-wielding sadist. Taking advantage of the weak-willed masochist, Mike blackmails Dite into giving him a cushy job, then takes advantage of his new position by stealing Dite’s clients, seducing Dite’s elegant daughter, Sara, and climbing his way up the social ladder.Read More »

“The only thing that really makes life worth living is women,” Yorgos tells us as he darts around in his little sports car picking up one woman after another. He’s young, he’s rich, he’s Greek, and he doesn’t want to settle down in the family business. And why should he? Yorgos really has the knack with women. They find him irresistible, either because of his “sad eyes” or because he’s got ideas “more exciting than feeding ducks.” (?!)

When Yorgos takes Delia for a ride one day after school, she wants to show him her “favorite place.” Apparently Yorgos shows her his favorite place too because, at the end of the movie, she turns up at his door pregnant.Read More »

Fritz Kortner performs a monologue.Read More »