IMDb wrote:
Francesca, a seventeen-year-old Roman, is finally sure she has found love. Almost sure. She spends the day observing other lovers’ behaviors and considering whether she is ready to jump. Her age notwithstanding, this movie is more about coming of age than about improper or illegal romantic relationships.

I dolci inganni - Alberto Lattuada (1960).mkv

General
Container:  	Matroska
Runtime: 	1 h 31 min
Size: 	3.32 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	4 750 kb/s
BPP: 	0.349
Audio
#1:  	Italian 2.0ch FLAC @ 246 kb/s
#2:  	French 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/7E7871EAE4ECDE9/I_dolci_inganni_-_Alberto_Lattuada_(1960).mkv
https://nitro.download/view/69C8DA6B7750E16/I_dolci_inganni_-_Alberto_Lattuada_(1960).en.srt
https://nitro.download/view/828FD7FDC4AE831/I_dolci_inganni_-_Alberto_Lattuada_(1960).ita.srt

Language(s):Italian, French
Subtitles:English, French, Italian

The post Alberto Lattuada – I dolci inganni aka Sweet deceptions (1960) first appeared on Cinema of the World.

Normandy, second half of the nineteenth century. Jeanne Dandieu lives in a manor house with her parents and their servant Rosalie. She gets to know Julien, a handsome man, whom she soon marries. Her happiness is short-lived as she finds out that not only has Julien married her for her money but he cheats on her as well, with Rosalie to crown it all. The latter gives birth to a baby girl before leaving the house. Six years later, Julien has a new mistress, Gilberte de Fourcheville. Jeanne puts up with this new ordeal bravely. However Gilbert’s husband surprises the two lovers in a caravan and, in a rage, hurls them over the edge of a cliff.

	
Une.vie.1958.720p.MUBI.WEB-DL.AAC2.0.x264-CMYK.mkv

General
Container:  	Matroska
Runtime: 	1 h 21 min
Size: 	2.69 GiB
Video
Codec: 	x264
Resolution: 	1280x720 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	4 572 kb/s
BPP: 	0.198
Audio
#1:  	French 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/472EBC46422A708/Une.vie.1958.720p.MUBI.WEB-DL.AAC2.0.x264-CMYK.mkv

Language(s):French
Subtitles:English

The post Alexandre Astruc – Une vie AKA End of Desire (1958) first appeared on Cinema of the World.

Synopsis:
‘Kate, an American at a Parisian boarding school, faces the moral and ethical choices of adulthood. Looking over the wall of her school, she becomes fascinated with a sculptor next door, and she begins a flirtation. Although he needs little encouragement, his mistress urges him to seduce the lass and contrives to leave the two together. The same week this cat-and-mouse game begins, Kate witnesses an early morning hit and run road accident in which a soldier is killed. She doesn’t see the car’s driver, whom we know to be the sculptor, but the car is distinctive. What will she do when she finds out he was the driver? Will she call off the affair and call in the cops?’
– jhailey

1.10GB | 1h 23m | 946×568 | mkv

https://nitro.download/view/A623DF0B52CDE77/La.recreation.1961.DVDRip.x264.AC3.mkv
https://nitro.download/view/160C397017E663D/La_Recreation.1961.dvd.srt

https://ddownload.com/25b5qnil27wq/La.recreation.1961.DVDRip.x264.AC3.mkv
https://ddownload.com/8qjekwfmeirc/La_Recreation.1961.dvd.srt

Language(s):French
Subtitles:English

The post Fabien Collin & François Moreuil – La récréation AKA Playtime (1961) first appeared on Cinema of the World.

Candy is a 1968 sex farce film directed by Christian Marquand based on the 1958 novel by Terry Southern and Mason Hoffenberg, from a screenplay by Buck Henry. The film satirizes pornographic stories through the adventures of its naive heroine, Candy, played by Ewa Aulin. It stars Marlon Brando, Ewa Aulin, Ringo Starr, John Huston and Enrico Maria Salerno. Popular figures such as Sugar Ray Robinson, Anita Pallenberg, and Florinda Bolkan appear in cameo roles.

From Flick Fest:
When I started watching Candy I got a bad feeling in the pit of my stomach during the first 5 – 10 minutes. Ewa Aulin appeared as the titular girl and looked pretty enough but didn’t really seem like a great actress. John Astin was also onscreen so that was a plus. But would I be subjected to a couple of hours of trippy, dippy, hippy hijinks or would the film be something other than that? Thankfully, it was a great mixture of both and as soon as Richard Burton’s character turned up (a self-aggrandising poet named MacPhisto) I was laughing hard and ready to journey alongside the onscreen assortment of oddballs.

Based on a novel by Terry Southern (a loose adaptation of Voltaire’s Candide), Candy is directed by Christian Marquand and adapted for the screen by Buck Henry and both do a fantastic job.

The story concerns Candy and all who fall for her (which happens to be pretty much everyone) as she travels around with her father and her uncle (twins, both played by the great Astin). There’s the poet played by Burton, a Mexican gardener played by Ringo Starr, a half-baked military man played by Walter Matthau, a brilliant doctor played by James Coburn, Chalres Aznavour’s hunchback criminal, an artistically-minded film director and the mystical Grindl (played by Marlon Brando, showing a style of comedy that I never expected of him in a fantastic and fun performance). Then there’s the worrying lust that her uncle (identical to her father) has for her.

While Candy may, at times, feel like no more than a series of linked up skits it’s more cohesive and linear than something like The Magic Christian (another work based on Terry Southern’s writing) and more consistently entertaining and amusing. The script is full of many absolute gems and I must say that I’m surprised to find that this isn’t used as an oft-quoted comedy goldmine, which it certainly is.

The performances are pretty inconsistent but the joy here is in watching the bigger star names have a hell of a lot of fun – Ringo Starr may not be the best actor here but he is not onscreen for as long as the great Burton or any of the other star players.

The character of Candy is so naïve that it borders on the dumb but this seems to have been played up for comic effect too (or, at least, that’s the way I like to view it) and works out just fine in the context of the lusty punchlines used for each segment.

With a finale that nicely allows the audience to catch up, if ever so briefly, with a favourite character or two, Candy proves to be a pleasant surprise after that unsure beginning and while there’s certainly an infusion of “The Age Of Aquarius” and free love to everything it’s all tempered by some sharp dialogue that’s delivered with relish by A-list stars of the 60s having an absolute blast.
~Kevin Matthews

3.27GB | 2h 4mn | 1024×552 | mkv

https://nitro.download/view/96A08EA9F5484E8/Candy.1968.576p.BluRay.AAC.x264-HANDJOB.mkv

Language(s):English
Subtitles:None

The post Christian Marquand – Candy (1968) first appeared on Cinema of the World.

On a road in Haute-Provence, Francis meets up with a young musician, Samuel. They strike up a friendship and decide to stay at a mountain hotel, managed by an attractive young woman called Anna. Whilst Francis takes Anna as his mistress, Samuel organises card games with the locals. When they realise he has been cheating, his fellow gamblers break his hands. After he has been driven to kill an old woman, Samuel flees….

1.24GB | 1h 27mn | 704×400 | avi

https://nitro.download/view/A69365A2D73333A/Grands_Chemins.avi
https://nitro.download/view/CA66C732E0CB85B/Grands_Chemins.en.srt
https://nitro.download/view/4914B7BB1070902/Grands_Chemins.srt

Language(s):German
Subtitles:Russian,English

The post Christian Marquand – Les grands chemins / F.L.A.S.H. (1963) first appeared on Cinema of the World.

Not much one can say other than providing Godard’s review of the film:

I don’t give a damn about the merry-go-round decorated by Walt Disney, he lunch on the grass with imitation plastic clothes, the chewing-gum green of a ball of wool. I don’t give a damn about any of the lapses in taste piled up by Astruc, Claude Renoir and Mayo.Or about Roman Vlad’s saxophone either. Actually it isn’t bad. But anyhow, the real beauty of Une Vie lies elsewhere.
In Pascale Petit’s yellow dress shimmering amid the Velazquez grey dunes of Normandy. That’s wrong! Not Velasquez grey? Not even Delacroix grey, howl the connoisseurs.To no purpose. Already Christian Marquand is leaning over te break-water, holding out his hand to Maria Schell. The ‘connoisseurs’ are thrown by a film that moves so quickly that the fastest racing cars are those that brake best: Une Vie is like them. One thought one knew Astruc, and constructed theories without noticing that the sequence was over and had already taken off in another aesthetic or moral direction. One talked of Velasquez without noticing that Pascale Petit’s dress was Baudelaire yellow, and Maria Schell’s eyes Ramuz blue. Why Ramuz? Because behind Maupassant’s puppets, behind Jeanne and Julien, it is the face of Aline or Jean-Luc persecute that Astruc is filming. There is nothing surprising about this. His admiration for the author of Signes Parmi nous has long been known.But why a moment ago the author of L’Albatros? Because the first shot of Une Vie stamps the whole film with Baudelarian effigy. Because Maria Schell runs headlong towards the sea and Pascale’s dress is like an echo illustrating the most celebrated verses of the man who said to Manet, ‘You are supreme in the decadence of your art.’ One might mention Thomas Hardy,as well as Faulkner and the Charlotte Rittenmayer of The Wild Palms, here transposed into the character played by Marquand; but Astruc himself has already talked of them so much-too much-that the admirers of Le Rideau are now looking for difficulties and being surprised to find none.All of which proves what? That people talked of painting without noticing that Une Vie was a novelist’s film; and of taste without noticing that it is a barbarian’s film.
My defense of the film against those who admire it for the wrong reasons is now done. Against the rest, the task is easier, for Une Vie is almost the opposite of an Astruc film in the sense that he has been labelled with a prefabricated aesthetic form from which he is now escaping.
It is of no consequence that the version now showing in cinemas does not correspond to the one envisaged in the scenario. It is of no consequence that the montage has systematically been cut off each scene in mid flow. One may admire Une Vie as it stands.And as it stands Une Vie is the opposite of an inspired film. The madness behind the realism, said Astruc in an interview.But this has been misunderstood. Julien’s madness lies in having married Jeanne, and Jeanne’s in having married Julien. Full stop and finish.He was not trying to film La Folie Du Doctor Tube,but to show that for a man of wood and woman of soul to marry is madness. As a matter of fact, Une Vie disconcerts Astruc’s keenest partisans, just as Le Plaisir disconcerted those who thought they knew Maupassant. Where they expected Astruc the lyricist, they found Astruc the architect.
Une Vie is a superbly constructed film.So, to illustrate my point, I shall borrow images from classical geometry. A film may be compared to a geometrical locus; that is, a figure constituted by all points which satisfy a particular equation of relation to a fixed element. This ensemble of points is,if you like the mise en scene, and this particular equation common to each moment of the mise en scene will, therefore, be the scenario, or if you prefer, the dramatic situation. There remains the fixed element, or possible mobile one, which is none other than the theme. But the following thing happens. With most directors, the geometrical locus of the theme they are supposed to be dealing with extends no further than the situation where it is filmed. What I mean is that although the action of their films may take place over a vast area, most directors do not think their mise en scene beyond the area of the set. Astruc, on the other hand, gives the impression of having thought his film over the whole perimeter required by the action-no more, no less. In Une Vie, we are only shown three or four landscapes in Normandy. Yet the film gives an uncanny feeling of having been planned on the actual scale of Normandy, just as Tabu was for the Pacific, Que Viva Mexico for Mexico! The references may be exaggerated.But they are there. But they are there. The fact is too remarkable not to be pointed out, and it is all the more remarkable in that Astruc and Laudenbach have deliberately made difficulties for themselves by only showing, as I have just noed, three or four aspects of the Norman woodlands. The difficulty is not in showing the forest, but in showing a room where one knows that the forest is a few paces away; an even greater difficulty is,not in showing the sea, but a room where one knows the sea is a few hundred yards away. Most films are constructed over a few square feet of décor visible in a viewfinder. Une Vie is conceived, written and directed over twenty thousand kilometers.
Over this immense invisible space, Astruc has established his dramatic and visual co-ordinates. Between the abscissa and the ordinate no curve appears which might correspond to a secret movement of the film. The only curve is either abscissa or ordinate, and therefore corresponds the two kinds of movement, one horizontal, the other vertical. The whole mise en scene of Une Vie is based on this elementary principle. Horizontal, Maria Schell and and Pascale Petit running towards the beach. Vertical, Marquand bending to take his partner’s hand on the harbour jetty. Horizontal, the bridal couple leaving after the wedding banquet. Vertical, the knife stroke which rips open the bodice. Horizontal again, the movement of Jeanne and Julien sprawling in the wheatfield. Vertical again, the movement of Marquand’s hand seizing Antonella Lualdi’s wrists. For Astruc,the mise en scene of Une Vie has simply meant emphasizig one of these two movements, horizontal and vertical, in each scene or each shot having its own dramatic unity, and emphasizing it abruptly, so that everything before or after it which does not form part of this abrupt motion is left in shadow.
In Les Mauvaise Recontres Astruc was still using this sort of effets, this premeditated violence, in the manner of Bardem: as a shot changed,a dorr opened, a glass shattered, aface turned. In Une Vie, on the other hand, he uses it within a shot, pushing the example of Brooks-or, more especially, Nicholas Ray-so far that the effect becomes almost the cause. The beauty is not so much Marquand draggina Marian Schnell out of the chateau as in the abruptness with which he does it. This absuptness of gesture which gives a fresh impulse to the suspense every few minutes, this discontinuity latent in its continuity, might be called the tell-tale heart of Une Vie, to show the kinship of the so-called ‘cold’ film with Edgar Poe, the true master of mystery and the most abstract writer of all.
Une Vie is a wonderfully simple film, exactly like Bitter Victory. And simplification does not mean stylization. Astruc is very different here fore Visconti, with whom it would be silly to compare him. Certainly Maria Schell was more effectively used in White Nights; but in Une Vie she is used more accurately and profoundly. In his time, Maupassant was doubtless a modern writer. Paradoxiacally, therefore, the best way of capturing the true nineteenth-century atmosphere was to give the whole thing a frankly 1958 atmosphere.In this Astruc and Laudenbach have succeeded magnificently. As proof, I needonly cite the admirable line spoken by the admirable Christian Marquand to the woman who has offered him her dowry and her chateau: ‘Because of you, I have ruined my life.’ Another example: whereas Jean-Claude Pascal carrying Anouk Aimee seemed old-fashioned (in Les Mauvais Recontres), here the same gesture with Marquand and Maria Schell seems modern.
Once one has raved about Pascale Petiti (with who Astruc has worked as much of a miracle as Renoir with Francoise Arnoul in French-Cancan), who runs through the forest as gracefully as Orvet and hides under the bedclothes better than Vadim’s girls, one has not said it all. One the threshold of the unknown: this might be a better title for Une Vie than for a science-fiction film. For Une Vie forces the cinema to turn its gaze elsewhere.

501MB | 1:17:53 | 720X576 | avi

https://nitro.download/view/7BD8973EEFE9D2E/Une_Vie_(Alexandre_Astruc,_1957).avi
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https://nitroflare.com/view/79616ADC7F4648A/Une_Vie_%28Alexandre_Astruc%2C_1957%29.srt

Language:French
Subtitles:English,Spanish

The post Alexandre Astruc – Une vie AKA One Life (1958) first appeared on Cinema of the World.