Synopsis
Set during the mid-19th century, the film dwells upon the foredoomed romance between Russian princess Katia (Danielle Darrieux) and the married Czar Alexander II (John Loder). Impressed by her forthrightness and courage, Alexander finds Katia a breath of fresh air when compared with the usual obsequious noblemen who nip at his heels. When their love affair becomes public during a state ball, the ensuing scandal forces Katia to flee to Paris…

File Name: Katia.1938.TVRip.XviD.avi

File Size (in bytes): 1,175,150,592
Duration (hh:mm:ss): 1:25:36

Video Codec Name: XviD ISO MPEG-4
Frame Count: 128388
Frame Width (pixels): 640
Frame Height (pixels): 480
Storage Aspect Ratio("SAR"): 1.333
Frames Per Second: 25.000
Video Bitrate (kbps): 1700
Quality Factor (bits/pixel)/frame: 0.221"

Audio Codec: 0x0055 MPEG-1 Layer 3
Audio Sample Rate (Hz): 48000
Audio Bitrate(kbps): 117
Audio Bitrate Type: VBR
Audio Channel Count: 1

https://nitro.download/view/C0A87134F55C1BE/Katia.1938.TVRip.XviD.avi

Language(s):French
Subtitles:None

The post Maurice Tourneur – Katia (1938) first appeared on Cinema of the World.

Synopsis
François (Guitry) is a young sculptor who falls madly in love with his model Catherine (portrayed by Guitry’s real-life wive Genevieve). When his eyesight fails him, Bressoles begins to feel unworthy of Catherine…

1.39GB | 1h 30mn | 710×564 | mkv

https://nitro.download/view/F7C53176DDDF824/Donne.moi.tes.yeux.1943.DVDRip.x264.mkv
https://nitro.download/view/AB81A3252DEFC1F/Donne.moi.tes.yeux.1943.DVDRip.x264.srt
or
https://fikper.com/l5QF0SCk1H/Donne.moi.tes.yeux.1943.DVDRip.x264.mkv.html
https://fikper.com/fuXCfaLcd9/Donne.moi.tes.yeux.1943.DVDRip.x264.srt.html

Language:French
Subtitles:English

The post Sacha Guitry – Donne-moi tes yeux AKA My Last Mistress (1943) first appeared on Cinema of the World.

An adaptation of Fyodor Dostoyevsky’s “Le Eternel Mari”, a somber story of marital infidelity, revenge and near madness, and starring Raimu in his last film appearance.

1.63GB | 1h 36m | 698×568 | mkv

https://nitro.download/view/1D8283569C7621B/Homme_Au_Chapeau_Rond_-_Pierre_Billon_-1948.mkv
https://nitro.download/view/A2F9FADD3D3081B/Homme_Au_Chapeau_Rond_-_Pierre_Billon_-1948_v2.srt

Language(s):French
Subtitles:English

The post Pierre Billon – L’homme au chapeau rond AKA The Eternal Husband (1946) first appeared on Cinema of the World.

Nouveau riche

In spite of a very poor rating, this film is really a killer! By far Jean Dreville’s most important film as well as one of the best Charles Vanel’s performances. First intended for Raimu, it seems that Vanel was finally a better choice and anyway if you give this movie a chance, he’s gonna blow your mind. Lord! What an actor!

MOnsieur Lechat is a nouveau riche: he epitomizes the American dream turned French. A self made man, he worked his way up and now he lives in luxury in a desirable mansion where his missus (who tells her daughter that if there are poor people it’s because they are lazy) is ill-at-ease (it’s so huge, I cannot get used to it). He’s completely devoid of compassion, a heart of stone and a desire to push people out of his way, a smug smile every time he puts one of his business’ colleagues down. He feels no remorse when he learns a man committed suicide whereas he could have saved him effortlessly.

“Business is business” is Octave Mirbeau’s play masterfully transferred to the screen. Monsieur Lechat makes all Chabrol’s bourgeois seem nice by comparison.

Monsieur Lechat’s next victim is to be the Marquis de Porcellet (Marquis of Piglet). Now the bourgeois have replaced the nobles at the top, and there is no room there for the ruined aristocrats except… if they let their son marries the wealthy businessman’s daughter. For, like Monsieur Jourdain, in Molière’s “Le Bourgeois Gentilhomme”, Monsieur Lechat wants his daughter to be a Marquise (and maybe a duchess). Unlike Jourdain, Lechat is no idiot and he kills two birds with one stone: he enters an obsolete world which retained in the first half of the twentieth century some prestige; and he humiliates a man whose pride, honor, duty and moral values are his reasons to live. But if Mirbeau shows some sympathy for the Marquis (and finally avenges him), he does believe that all those values are doomed and fast becoming things of bygone days.

“Les Affaires Sont les Affaires”, released in the darkest year of the Occupation is almost a desperate work: only the tycoon’s daughter, by breaking off communication with her family ,may mean hope for the future. Her lover is a scientist the discoveries of whom the daddy wanted to take over.

1.16GB | 1h 16m | 712×572 | mkv

https://nitro.download/view/A50B4312F232B53/Les.affaires.sont.les.affaires.1942.DVDRip.x264-FuFu.mkv
https://nitro.download/view/873F3851FAB8B6D/Les.affaires.sont.les.affaires.1942.DVDRip.x264-FuFu.eng05.srt

Language:French
Subtitles:English,French HoH

The post Jean Dréville – Les affaires sont les affaires (1942) first appeared on Cinema of the World.

This film was shown in the movie theaters two months before the landing and afterward completely disappeared only to reappear in 1993. This is of course a propaganda movie .But not more than Stelli’s “Le Voile BLeu” .

Beginning his movie with an evocation of Joan of Arc was not completely incongruous ; Guitry probably thought it was a sign from God ;1429: Joan’s odyssey begins ;birth of the Homeland ,1942: under the yoke of the Nazis ,but still proud of its past ,the country remembers .1429,1942 sinister anagram.Joan found since taken over by the far right wing .

Although by no means one of those “historical” movies Guitry was famous for (“Si Paris (Versailles) M’Etait Conté” “Les Perles de la Couronne” ),”De JA à PP ” is a much more modest interesting document .It’s a lecture by Guitry himself sitting as his desk and flipping through “files” .

“France has got to prepare its past ,Guitry declares,(for there is no future anymore?)while beginning his lesson in history.Strange how the kings (Henri IV ,Louis XIV) and the ministers (Colbert) disappear after the seventeenth century :one should note that the FRench Revolution and his great ideas are completely passed over in silence;the German censorship would not have agreed.”La Marseillaise” is heard only at the end of the work,out of its context.

The “politicians ” are absent during the 1715 -1942 era (except of course the Marechal the film is dedicated to.)The artists get the lion’s share .We have Molière ,compared to God,good readings of Lamartine ‘s (how apt!) “Pensées des Morts ” by Madeleine Renaud and other poems by renowned actors and actresses.Artists such as Cocteau also contribute.Musicians are also recalled :Berlioz,Bizet and Ravel and his “Bolero”.The scientists are not forgotten: there’s a moving reading of the letter where Pasteur writes he is going to be his own guineapig for his rabies vaccine.

After the liberation,it is an euphemism to write that Guitry’s career ran into difficulties.Who could forgive him such a work when Carné and Prévert were filming veiled hints at tyranny (“Les Visiteurs du Soir”) or helping Jews work in secret (Trauner :”Les Enfants Du Paradis” settings)?Some people pointed out that Guitry always had enough coal to heat his luxury town house (and his works of art).He spent some time in jail but the fourth republic restored him to favor and some of his masterpieces were to follow (particularly “la Vie D’Un Honnête Homme” )

— dbdumonteil (IMDb).

796MB | 55mn 47s | 688×516 | mkv

https://nitro.download/view/601BC89ED226E0A/From_Joan_of_Arc_to_Philippe_Petain_(1944)_–_Sacha_Guitry.mkv

Language:French
Subtitles:English (muxed)

The post Sacha Guitry – De Jeanne d’Arc à Philippe Pétain AKA From Joan of Arc to Philippe Petain AKA 1429-1942 (1944) first appeared on Cinema of the World.

Synopsis:
In the late 1800’s, Franz Ferdinand, heir to the Austro-Hungarian empire, falls for Sophie Chotek, a Czech countess. He’s already a problem to the Crown because of his political ideas; this love affair with someone not of royal blood breeches protocol. The Crown allows the union only after the couple agrees to a morganatic marriage. The emperor further neutralizes Franz by making him inspector general of the army, sending him afield for months at a time. In June of 1914, fearing for his safety, Sophie seeks permission to accompany Franz to Sarajevo; protocol dictates that no army troops attend Franz while she is present. An assassin strikes. Their deaths spark World War I.

Review:
“Ce film n’a pas la pretention d’être une oeuvre historique.” Romance on the verge of war, the vintage fable suddenly apropos. Max Ophüls begins like Lubitsch on a tear with the Hapsburg court all aflutter, the Archduke Ferdinand (John Lodge) crashes the imperial celebration hoping for progressive plans and gets instead to smile and wave from the balcony. Austrian rule is not appreciated in Czechoslovakia and Duchess Sophie (Edwige Feuillère) doesn’t mind telling him, their love blossoms under a pair of contradictory objects of fate—the rigidity of the statue of the Emperor (Jean Worms) and the irreversibility of the pocket watch. Disguises avoid scandal, she plays governess and in a splendid little gag is asked to pose in a tableaux with her beloved. (The bumbling photographer frets about symmetry as the camera takes an upside-down POV, too late, the light is gone.) Protocols, “the call of power,” authoritarian insensibility on the horizon. “There are certain laws and traditions that do not allow for sentiment.” A trenchant juxtaposition of the affairs of the heart and the affairs of the state, a great political work in which lovers are threatened not just by illusions but by history itself. Brutal raids viewed through yacht binoculars and marriage telescoped through a family slide-show, a sympathetic ear from the regal stepmother (Gabrielle Dorziat) and a glaring monocle from the Prince of Montenuovo (Aimé Clariond). The Mayerling incident is a verboten memory, the ultimate Ophüls encapsulation of “une triste epoch” is the ceremonial ballroom the defiant couple are not allowed to attend. Elegant trains and carriages rush toward the rendezvous with the fanatic’s bullets in Sarajevo, yet, even when the swastika burns through newsreel footage at the close, there’s the Liebelei lilt still: “Regret nothing! We knew such happiness…” Hitchcock’s Foreign Correspondent and Borzage’s The Mortal Storm are strikingly contemporaneous. With Jean Debucourt, Raymond Aimos, Gaston Dubosc, and Colette Régis. In black and white.
— Fernando F. Croce (Cinepassion.org)

2.23GB | 1h 35m | 790×576 | mkv

https://nitro.download/view/C3DFA3A30C1DA72/From_Mayerling_to_Sarajevo_(1940)_–_Max_Ophuls.mkv

Language(s):French
Subtitles:English (muxed)

The post Max Ophüls – De Mayerling à Sarajevo AKA From Mayerling to Sarajevo (1940) first appeared on Cinema of the World.

The Duchess of Langeais, as beautiful as she is brilliant, is a woman who likes to seduce but who does not give in. Until the day when she falls in love with General de Montriveau, a cabal goes up against her.

Wicked.Duchess.1941.1080p.NF.WEB-DL.DDP2.0.x264-TEPES.mkv

General
Container:  	Matroska
Runtime: 	1 h 35 min
Size: 	5.03 GiB
Video
Codec: 	x264
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	7 435 kb/s
BPP: 	0.199
Audio
#1:  	French 2.0ch E-AC-3 @ 128 kb/s

https://nitro.download/view/8341C2480DAB0F7/Wicked.Duchess.1941.1080p.NF.WEB-DL.DDP2.0.x264-TEPES.mkv

Language(s):French
Subtitles:French, English, Finnish, Portuguese

The post Jacques de Baroncelli – La Duchesse de Langeais AKA Wicked Duchess (1942) first appeared on Cinema of the World.