Category Archives: French Films

This Sweet Sickness (1977)

Posted on March 14, 2024 | Leave a comment

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Obsessed over childhood friend.

David (Gerard Depardieu) can’t seem to get over Lise (Dominique Laffin) who was a childhood friend of his. Now as adults Lise has married Gerard (Jacques Denis) and even had a child, but David keeps believing that she’s in-love with him and will eventually leave Gerard for him. On weekends he spends his time finishing up with a country house that he has bought, which he plans for he and Lise to live in. He repeatedly calls Lise and meets up with her in public in an effort to beg her to come back to him, but she resists while also advising him that he is mentally unwell and needs to see a psychiatrist. Meanwhile there’s also Juliette (Miou-Miou) who resides in David’s apartment building and has strong feelings for him. David is aware of her presence, but rebuffs her at every turn and yet Juliette persists. She secretly follows David to his country home and when she figures out what he’s doing the two have a confrontation.

While there’s been many movies involving stalkers and jilted ex-lovers that can’t seem to take ‘no’ for an answer this one was done when stalking was still considered an isolated phenomenon and thus there’s a lot of things that work against the modern-day formula, which is what makes it fascinating to watch. For one thing it’s not approached as a thriller, or even a horror, but instead a drama. David is not perceived as threatening, but mentally confused and needing help learning to move-on. Lise does not respond in a frightened way when he approaches, but more just annoyed.

The stalker is three-dimensional as well. One of the most intriguing moments is after Lise’s husband dies in a car accident and David convinces her to come to the country home to check-it-out. Initially she acts impressed with it and gives-off the perception that she might seriously consider moving-in, but David eyes her suspiciously, which is quite revealing. He’s spent the entire time convincing himself and others that she’s truly in-love with him, but now when she actually gives him what he wants he’s not sure he can believe her. This shows subconsciously that he’s aware she doesn’t have the feelings for him like he consciously wants to believe and he actually does know the reality of the situation, but the emotional side of him just doesn’t won’t accept it.

The addition of Miou-Miou  adds another fascinating element. It brings out how stalkers aren’t the way they are simply because they may be lonely and unable to find anyone else, which then supposedly forces them to become so fixated on one person since Miou-Miou is openly interested in him and just as attractive and yet David consistently rejects her. Her stalking on him becomes just as intrusive as David’s to Lise and in some ways just as creepy. The sex scene between her and Gerard, or at least an attempted sex moment, is quite interesting because just a few years earlier the two starred in another film called Going Places. There Gerard played the aggressor who rapes Miou-Miou here though she’s the aggressive while Gerard lays virtually frigid, which shows how brilliant these two actors are that they can play such opposite people so convincingly.

Spoiler Alert!

The story was based on a novel of the same name by Patricia Highsmith though there are a few key differences starting with the fact that the novel has the two in a previous, but brief relationship while in the movie they were just friends from childhood. In the book David works as a scientist and purchases the country home under an assumed identity. The Lise character is named Annabelle in the book and her husband Gerard dies after tracking David to the isolated home and getting into a fight with him where in the movie Gerard is killed when his car slides off an icy roadway. In the movie the house burns down when a drunken David knocks over a TV-set, but in the novel he simply sells it and buys a new one that’s closer to where Annabelle lives. The ending is a lot different too with the one in the movie, which takes place at a health spa, being far better and in fact it’s the most memorable moment as the scene is able to balance both an artistic and horrifying elements all at once.

Alternate Title: Tell Her That I Love Her

My Rating: 7 out of 10

Released: September 28, 1977

Runtime: 1 Hour 47 Minutes

Not Rated

Director: Claude Miller

Studio: Filmoblic

Available: DVD-R (dvdlady.com)

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Posted in 70's Movies, Cold Climate/Wintertime Movies, Foreign Films, French Films, Movies Based on Novels, Obscure Movies, Thrillers/Suspense

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Three Men and a Cradle (1985)

Posted on February 19, 2024 | 1 comment

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Stuck with a baby.

Pierre (Roland Giraud), Michel (Michel Boujenah), and Jacques (Andre Dussollier) are three bachelors living in a swanky apartment who routinely bed hot women and throw wild parties. During a party one of Jacques’ friends informs him that he has a package and wants to have it delivered to their apartment for safe keeping. Jacques agrees and then goes flying off to Japan for a month as an airline steward. Pierre and Michel then find a baby at their doorstep that gets left by Jacques former girlfriend. Thinking this is ‘the package’ they begrudgingly bring her in and try caring for her despite having no idea what they’re doing. Meanwhile the actual package also gets delivered, which is a small box secretly full of heroin, which they think nothing of until the dealers arrive looking to pick it up and mistakenly take the baby instead.

A highly insightful look at bachelors and their ineptness and downright ignorance at infant care is brought splendidly to screen, at least with the first act. There’s many keen moments as they run around to pharmacies not knowing what sized diapers to get the kid, or the type of baby food, thinking it’s ‘all the same’ and needing to constantly go back and speak to the female druggist for clarity.  In fact the first 30-minutes are probably the funniest and could’ve just kept it at that theme and been a success though having Jacques away so much starts to make it seem like the title should’ve just been ‘2 Bachelors and a Cradle’ since the third one is little seen until much later on.

I also really adored the kid who is able to somehow cry on cue. Most infants are understandably hard to control, but this one reacts to the scene and situations perfectly and is in it surprisingly a lot. In most other films dealing with babies they usually get only shown in a crib for a few seconds here and there, with these shots spliced in, but here she’s like a genuine character that’s in it almost as much as the main ones. We also see her grow where at the end she’s doing her first walk and it’s cool that the ‘music’ done over the closing credits amounts to recordings of her baby blabbering.

Where the film starts to fall-off a bit is with the drug dealer side-story. I think the baby chores that the men had to go through could’ve been enough to carry it and adding in the crime thing made it seem unnecessarily exaggerated. It’s also ridiculous that the dealers tear up the entire apartment, and I mean they literally ransack the place cutting up and breaking all the furniture to the point that’s it’s an extraordinary mess. Then suddenly a little later it all goes back to normal, but how could they find the time to clean it all up while also taking care of the kid? This clean-up would’ve quite frankly taken many weeks and buying all new stuff, so this should’ve at least been shown, but instead it gets portrayed like they’re genies who can seemingly turn a trashed place into a clean one with a snap-of-a-finger.

The characterizations are rather weak as Pierre and Michel respond to things too much the same way and have very little distinction between them and could’ve easily morphed into being one person. The idea that these guys could just call off from work for not only days, but weeks at a time without even giving an excuse as to why and not lose their jobs for it seemed implausible. Granted the French culture isn’t a workaholic one like in America, but it’s pushing the bar to the extreme here and might’ve been more amusing seeing the guys taking the baby to their work and trying to somehow still get things done.

Spoiler Alert!

My biggest beef though comes with the girlfriend named Sylvia, played by Philippine Leroy-Beaulieu, who has the audacity to leave a helpless infant on somebody’s doorstep, walks away, and doesn’t think anything of it. What’s to say some stranger couldn’t come along and snatch the kid up before the occupiers of the apartment find it? What’s to guarantee that the guys in the apartment are even going to want to take the baby in, or if they do won’t inadvertently harm the child since they have no training on how to handle it? The fact that she returns months later with this bright beaming smile demanding to see her baby immediately like she’s some loving mother entitled to her kid whenever she pleases makes her seem even more outrageous. In most jurisdictions her behavior would’ve been considered reckless child abandonment and her parenting privileges taken away. Instead of handing over the baby she should’ve received a very stern lecture

Granted the film tries to make-up for this by having her return to the apartment saying she can’t keep up with the mothering duties and agrees to hand the baby over to the men. She also gets shown lying in the baby’s crib in a fetal position in order to symbolize that she’s immature, but still for a playful comedy this has some serious undertones that it glosses over, but are still readily there if you think about it.

My Rating: 7 out of 10

Released: September 18, 1985

Runtime: 1 Hour 46 Minutes

Rated PG-13

Director: Coline Serreau

Studio: Soprofilms

Available: DVD

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Posted in 80's Movies, Comedy, Foreign Films, French Films, Movies with Nudity, Obscure Movies

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Garde A Vue (1981)

Posted on January 14, 2024 | Leave a comment

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Interrogation of a lawyer.

Jerome (Michel Serrault), is a rich and powerful lawyer who is brought into a police station late one night during New Year’s Eve in order to be questioned about the rape and murder of two young girls. Antoine (Lino Ventura) is the lead investigator while Marcel (Guy Marchand) sits in the back and assists him during the interrogation. At first the conversation is light and civil, but as Antoine brings more circumstantial evidence to the forefront Jerome becomes nervous yet insists he’s still innocent. Marcel even implements some physical force against him, but Jerome’s stance never changes. In another room Antoine has a conversation with Jerome’s wife, Chantal (Romy Schneider), who confides to him that she secretly suspected Jerome to be in-love with an 8-year-old girl. Once Jerome gets confronted with this his story soon begins to change.

The film is based on the novel ‘Brainwash’ by John Wainwright and shot entirely in a studio soundstage and in chronological order. Why director Claude Miller would want to film a story that had very little if any cinematic elements to it is a mystery and if anything this might’ve fared better as a stage play. I was initially impressed with the police station room as you’d swear it was an authentic building and not just a prop built for the production. The drenching rain seen pouring down outside the windows is impressive as it gives the viewer a claustrophobic feel and I liked how eventually, when the clock hits midnight, you hear car horns honking outside to represent the New Year. However, every interrogation room I’ve seen, and I watch a lot of confession videos on Youtube from real-life cases, the rooms are very small and with no windows and the film would’ve been better served had it reflected a setting like this as it would’ve brought out better the psychological tension of the suspect and his feelings of the ‘walls closing in on him’, which with here you don’t get.

You can’t help but connect this movie with The Offence, which starred Sean Connery and was directed by Sidney Lumet. That movie came out 8 years before this one, but had the exact same theme of a suspect being brought in over the murders of some school girls. That movie was well directed but did annoy me for the fact that in that one the suspect, played by Ian Bannen, did nothing, but give off this smirk the whole time.  This one has a much better back-and-forth between the investigator and suspect, which helps keep it compelling as more evidence gets introduced. However, in the Lumet film it had constant shots of this big bright light shining into the camera giving the viewer a point-of-view feeling of what someone in that situation would feel and thus helping hype the sense of urgency of wanting to get out of there, or say anything one needed to in order to stop the pressure, which this film doesn’t do very well. Both films though have cutaways showing the dead girl’s bodies from a distance in a secluded area, which are visually creepy, though again Lumet’s film scores a bit higher in that category too.

Spoiler Alert!

Ultimately the ending is a letdown and rather baffling as it features Jerome caving and admitting to a crime that he really didn’t commit due to the perceived police pressure. For one thing it’s hard to imagine that a seasoned lawyer would be that dumb and wouldn’t just ‘lawyer up’ himself and demand counsel of his own when interrogation got to be too much. I’ve seen a lot of true life interrogations where the pressure put on the suspect was far worse and those people refused to buckle, so seeing the character fall to pieces so relatively quickly especially when he was educated to know better makes the whole thing pathetic.

Didn’t quite get why the wife shoots herself at the end either. Supposedly it’s because she feels guilty about tabbing him for the murder when the real killer eventually gets exposed, but she did it out of honesty as she really felt he had a thing for young girls, so why should she feel tortured about saying something she truly believed? It would’ve been more surprising if she had pulled the gun on Jerome himself as he got into the car and shot him as she would feel, even if he hadn’t been arrested for this crime, that he still had some dark perversions and thus should be killed before he goes and carries out his fantasies on some other girl. Of course if she lied about him having a thing for an 8-year-old in order to get back at him over their contentious marriage then her guilt and suicide would’ve been more plausible, but I didn’t get that from watching it, so if that was ultimately her motivation then the filmmakers should’ve done a better job at intimating it.

This is the rare case where I’d say the Hollywood remake, which came out in 2000 as Under Suspicion and starred Gene Hackman and Morgan Freeman was much better done. It had a better visual balance that didn’t keep the whole thing stuck inside a police room and it better tied-up loose story ends that this one leaves open.

My Rating: 6 out of 10

Released: September 23, 1981

Runtime: 1 Hour 27 Minutes

Not Rated

Director: Claude Miller

Studio: AMLF

Available: DVD, Blu-ray

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Posted in 80's Movies, Cold Climate/Wintertime Movies, Foreign Films, French Films, Movies Based on Novels, Mystery, Police Drama

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The Grapes of Death (1978)

Posted on October 26, 2022 | Leave a comment

grapes

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Zombies created by pesticide.

The film opens with a shot of immigrants spraying grapes with a pesticide in a vineyard owned and run by Michel (Michel Herval). One of the men (Francois Pasal) complains of a pain on the side of his neck, but Michel insists he keep working and quit complaining. The film then cuts to two women riding inside a train car, one of them is Elisabeth (Marie-Georges Pascal) who’s the fiancee to Michel and coming to visit him. Once the train stops the man from the vineyards complaining of the pain walks onboard and proceeds to kill Brigitte (Evelyne Thomas) who was inside the train bathroom. He then takes a seat in the train car that Elisabeth is in, but once she notices the growing tumor on the side of his neck and then the dead body of her friend she runs screaming off the train. She then finds herself all alone in deserted town where everyone has the same type of tumors growing on their faces and all seem intent on trying to kill her.

This was the first mainstream horror film directed by Jean Rollin and credited as being the first gore film ever to be made in France. Rollin had made several experimental vampire flicks in the early part of the decade, but they had failed to catch-on and lost him a lot of money, which forced him into directing porn movies under the pseudonym of Michel Gentil. By the late 70’s he had made enough money with those that he was ready to jump back into doing another feature film, which for a zombie story is unique as the zombie’s here are fully conscious and well aware of what’s happening to them and kill out of a sense of rage. The film is also, for a horror movie, very quiet lacking the traditional pounding music score and instead has extended moments of near silence especially during the town scenes, which helps accentuate the creepiness.

Rollin hired an Italian production company to do the special effects, which are quite impressive. Normally I’m on here complaining how fake the effects look in most other low budget horrors, but here I was amazed with how realistic they were. The scene where a woman gets stabbed with a pitchfork while lying on a table and then continues to breath with it still in her really looks like the blades went right through her body. Another scene dealing with the decapitation of a nude woman (Mirella Rancelot) and then having one of the zombies carry the head around is one of the most graphic of its type. I did have some issues with the tumor make-up. On the train car where Elisabeth watches it grow on the side of the man’s head was cool, but on the people in the town it starts to look like smeared pizza and I wanted to see a shot of someone that had it all over their face instead just on a little part of it.

While Rollin stated that he admired the acting of his leading lady I felt she was the weakest link. Her fearful expressions and screams are great, but her performance otherwise is one-note. Part of what made Night of the Living Dead so great was the contrasting personalities of the main characters and I felt there needed to be that here. Having the two men (Felix Marten, Serge Marquand) enter near the end of the second act to help Elisabeth fight of the zombies is a great addition, but I had wished they came in sooner. I also didn’t like the way Elisabeth conveniently finds a gun inside the car she has just stolen, which she is able to use in the nick-of-time to shoot the zombies, but what are the odds? The gun should’ve been introduced earlier, perhaps as something she brought along with her at the beginning for her trip, and not just thrown-in haphazardly.

The twist at the end is not satisfying leaving the viewer feeling down and depressed when it’s over when a robust showdown was needed. I felt too that the reason for why the people were turning into zombies, which was the pesticide, should’ve been kept a mystery until the very end. Instead of opening it with the men spraying we should’ve seen the townsfolk going about their day in a normal fashion, which would’ve made a striking contrast to when Elisabeth gets there and they’re all crazy. Maybe a shot of a man spraying in the background behind the people talking could’ve been done as a little hint, or clue, but as it gets done here it’s too obvious when a subtle approach was needed.

My Rating: 7 out of 10

Released: July 5, 1978

Runtime: 1 Hour 25 Minutes

Rated R

Director: Jean Rollin

Studio: Rush Productions

Available: DVD, Blu-ray

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Posted in 70's Movies, Cult, Foreign Films, French Films, Horror, Movies with a rural setting, Movies with Nudity, Slasher/Gore, Zombie Movies

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Deadly Games (1989)

Posted on October 23, 2022 | Leave a comment

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Kid versus Santa Claus.

Thomas (Alain Lalanne) is a 10-year-old who’s a wiz with computers and technology. Not only has he set various booby traps throughout the large mansion that he lives in with his mother (Brigitte Fossey), but he can fix cars and even drive them. Despite being super smart he still believes in Santa Claus while his friend Pilou (Stephane Legros) tries to convince him that he isn’t real. Thomas goes on the computer in an attempt to communicate with Santa, but instead gets a vagrant (Patrick Floersheim) on the other end pretending to be the jolly red fellow. He gets Thomas to give out his address and also reveal that his mother is a rich corporate CEO. The vagrant goes to his mother’s company and gets a job as a Santa, but is soon fired by her when he slaps a child. In revenge the vagrant, still in his Santa costume, goes to Thomas’ house where he plans to kill him, but Thomas uses his technical ingenuity to set a trap.

The film is an unusual hybrid between playful children’s comedy, a holiday film, and a slasher horror, which only could’ve been made in France where filmmakers aren’t under a repressive studio system that forces all scripts to conform to a cookie-cutter formula and here allows them to deviate between genres. Many have labeled this the original Home Alone and in-fact writer/director Rene Manzor threatened to sue John Hughes, who had directed the other one, insisting that he had essentially remade his film without permission. There are though quite a few differences between the movies to the extent that I didn’t think it was an unauthorized remake at all. If anything it reminded me more of another French classic Le Jout, about a rich kid living in a big place with a wide assortment of toys. This is also the best of the killer Santa movies as You Better Watch Out and Silent Night, Deadly Night took themselves too seriously while this one has a playful edge that manages to be both amusing and tense.

The kid certainly has an engaging quality and his love for his elderly grandfather (Louis Ducreux) is quite endearing, but he’s also just a bit too smart. I was okay with him being keen on the gadgetry, but having him get underneath a car and able to not only fix it, but also drive it was going too far. I wasn’t sure that a 10-year-old could reach the pedals with his feet and still be able to see over the dashboard. Part of what makes horror movies intense is having a victim appear vulnerable, but right away with the kid being so incredibly ingenious it makes the odds stacked against the killer and thus their cat-and-mouse game not as intriguing. I also really couldn’t stand the kid’s mullet haircut.

The home is over-the-top as well. It gets referred to as a mansion, but really seems more like a castle that’s bigger than anything I’ve seen anyone else, even the billionaires and celebrities, reside in. It doesn’t even seem like a real place, but instead, in certain shots, a miniature model and at other points a painting. All the secret rooms gets a bit dizzying including the hidden one that can be entered via an old refrigerator (are they really expecting us to believe that a 10-year-old kid, no matter how smart he is, could build that?). Another moment has Thomas getting trapped inside a life sized maze, but who the hell would take the time and effort to build a maze in their very own home, which again ends up getting too creative for its own good and negates the tension instead of enhancing it.

The Santa character is a boring. Usually horror movies make an effort to give the psycho, whether it’s through flashback or dialogue, some sort-of backstory, but here this guy pops-up without any idea of who he is, where he’s from, or why he’s so crazy. There’s also a few segments where he gets caught in a trap, like when he falls through a trap door and stuck in a net, but no shot showing how he got out of the predicament. Seeing how he gets himself out should’ve been shown each time (it’s shown in a few scenarios, but not all) in order to make the plot seem more reality based and less cartoonish.

Overall, despite the over-direction, it’s still a fun, wild ride that could be enjoyed by the whole family. It does get a bit intense at times, but the quick-thinking kid always seems to be pretty much in-control. Outside of the pet dog getting stabbed none of the other killings are seen and only the feet of the dead bodies are captured on camera to represent their demise, which should make it palatable for most kids to sit through without having nightmares afterwards.

Alternate Titles: 36.15 code Pere Noel, Game Over

My Rating: 7 out of 10

Released: March 18, 1989

Runtime: 1 Hour 32 Minutes

Not Rated

Director: Rene Manzor

Studio: Deal

Available: DVD-R (dvdlady.com)

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Posted in 80's Movies, Black Comedy, Christmas Movies, Cold Climate/Wintertime Movies, Foreign Films, French Films, Horror, Obscure Movies

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Dirty Dishes (1978)

Posted on September 6, 2022 | Leave a comment

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By Richard Winters

My Rating: 5 out of 10

4-Word Review: Housewife has nervous breakdown.

Armelle (Carole Laure) is a full-time housewife taking care of 2 young boys while her husband Marc (Pierre Santini) works a job designing car tires. Armelle is bored with the mundane chores that she must do day after day and looks forward to Thursday evenings, which is the one night that her and husband can go out, but since Marc’s job has become very demanding he can no longer do that, which makes her feel even more shut-in. She occasionally goes out with her two friends (Liliane Rovere, Liza Braconnier), but they’re trapped in the same thankless domestic routine as she is. One day she snaps and has a sexual tryst on her cluttered kitchen floor with an architect (Daniel Sarky) who works across the street, but this doesn’t subside her feelings of rebellion, so she steals a car, which almost gets her in an accident. Eventually her husband realizes her frustrations and promises that things will be different, but will this really bring the change that she wants?

Written and directed by the daughter-in-law of the legendary filmmaker Luis Bunuel, the film is a mixture of Diary of a Mad Housewife that came out 8 years earlier and Women on the Verge of a Nervous Breakdown, which was released 10 years after this one. There’s even a bit of Jeanne Dielman mixed in for good measure. The one thing that this film does do well is focusing on the mundane tasks that she does each day, which gives the viewer a clear impression of her trapped feeling. Unfortunately it doesn’t go deeper than that and ends up just being another feminist comedy that fails to have anything unique to say from the other films from that era with the same theme.

There are a some amusing lines uttered here and there, but the laughs are sporadic and there should’ve been tighter editing, which would’ve given it a frenetic pace and made the absurd moments seem less out-of-place. There’s also a few really weird tangents that come out of nowhere including a psychotic man that invades the families picnic at a park and tries running them down with his car that has no connection to the main story and wasn’t needed as was the segment at a grocery store where Arnelle breaks up a fist-fight between two men only to find that she’s been a victim of a candid camera-like prank.

There are a couple of good poignant moments particularly the scene where the couple is lying in bed and Armelle states to her husband that she feels scared and he replies: “Why, are you afraid something is going to happen to you?” and she responds: “No, I’m afraid nothing will happen and everything will remain the same.”, which hits home the characters quandary perfectly.

Laure’s is radiant and soaking in her beauty helps smooth over the slow spots. The scene where she gets rejected as a model of a dish detergent ad because she’s ‘too beautiful and no one would ever believe she does her own dishes’ is quite funny as that’s all we’ve seen her do since the film began.

The ending however offers no conclusion or answers. The character remains stuck in the same situation that she was at the start with only vague promises from the spouse that things ‘would be different’, but in cases like these that usually means things will eventually just go back to the way things were. The viewer needs to see the change for themselves, or how the character learns to adapt to the problem by finding ways to make the monotony seem more interesting, but the film shows none of this making it feel ultimately like a waste of time as both a satire and character study.

My Rating: 5 out of 10

Released: April 19, 1978

Runtime: 1 Hour 35 Minutes

Rated R

Director: Joyce Bunuel

Studio: Planfilm

Available: VHS

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Posted in 70's Movies, Black Comedy, Foreign Films, French Films, Obscure Movies

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The Track (1975)

Posted on July 12, 2022 | Leave a comment

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By Richard Winters

My Rating: 9 out of 10

4-Word Review: Hunters chase down woman.

Helen (Mimsy Farmer) is an American who has traveled to rural France in order to teach at a local university. At the train station she meets Philippe (Jean-Luc Bideau) who agrees to take her to the isolated cottage where she is to stay. Along the way they come into contact with Philippe’s boisterous friends who drive them off the road. The men are going out for a wild pig hunt and a few of them particularly Paul (Philippe Leotard) shows a sexual interest in her, but Philippe assures her that they’re ‘harmless’. While Helen moves in to her new place the men go off on their hunt, but when she walks outside to check-out a nearby barn she again comes into contact with Paul along with his brother Albert (Jean-Pierre Marielle) and Chamond (Michel Robin). Paul uses the opportunity to rape her while Albert holds her down and Chamond acts as the lookout. As they are about to leave Helen shoots and critically injures Paul with Chamond’s gun, which he had inadvertently set down, before she goes on the run deep inside the forest. The rest of the group tries tracking her down in an attempt to negotiate some sort of deal, so she won’t go to the authorities, or silence her permanently if she still insists that she will.

Some have labeled this the French version of Straw Dogs, but I consider it much more like Deliverance. In that film you had middle-aged suburbanite males wanting to prove their ‘macho manhood’ by roughing it in the wilderness for a weekend only to find that they weren’t quite as prepared for the harsh elements as they thought. This film works in kind of the same way. The men go hunting to get in touch with their rugged side, but when forced to face tough issues, like helping a woman in distress, they succumb to group pressure and prove ultimately to be wimpy.

Unlike other films in the rape/revenge genre the main character here is shown the least. Farmer does well during the rape segment and screams and fights in a way that elicits genuine horror, but otherwise her facial expressions and mannerisms are quite one-dimensional though I was impressed with the way she did her own stunt work and forced to navigate her way through some difficult and inhospitable terrain.

The main focus is on the male characters who are fascinating and multi-faceted. The most interesting aspect is how they start-out seeming benign and domesticated only to slowly unravel into a aggressively threatening group. The segment where they kill a pig and the animal struggles after being shot will make some animal activists uncomfortable, but like with Jean Renoirs’ Rules of the Game, which had a hunting segment even more graphic than here, it does effectively illustrate that if people are willing to kill an animal for sport; how thin is the line for them to cross-over to a person?

The lack of a soundtrack is a plus. Many thrillers will have a pounding score and sometimes it works to accentuate the tension, but here the natural sounds particularly Helen’s heavy breathing as she runs through the underbrush is far more effective. There’s also no forewarning of what’s going to happen nor buildup. Everything occurs out of nowhere. Most victims who survive a crime will say the same thing that things were peaceful and normal one minute and then all hell broke loose the next.

Spoiler Alert!

The only two things I might’ve done differently had I directed was not showing the rape. As rape scenes go this one is rather mild, but my feeling was it would’ve been creepier had the viewer been in the dark about what occurred as were initially the other men. They’re told the story that the gun went off accidentally and the woman ran in a panic only for them to slowly learn the dark details later on. Having the viewer come to this realization along with the other men would’ve added an extra layer to the story versus it being spelled out.

While the ending is effectively unsettling I still wanted a denouement showing how the strains of this experience changed them, which would’ve added insight. Overall though it’s a brilliant especially for the way it reveals how some of the men considered themselves more ethical than the others only to end up being no better. Everyone likes to feel that they, or their friends, would do the right thing when put in a stressful situation and ‘be the hero’, but this movie expertly examines how that might not always be the case.

Alternate Title: La Traque

Released: May 14, 1975

Runtime: 1 Hour 32 Minutes

Not Rated

Director: Serge Leroy

Studio: Warner Brothers

Available: DVD-R (French with English Subtitles) (dvdlady.com, jfhi.com)

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Posted in 70's Movies, Foreign Films, French Films, Movies with a rural setting, Obscure Movies, Outdoors, Rape/Revenge

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Rape of Love (1978)

Posted on June 23, 2022 | Leave a comment

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Assault victim seeks justice.

Nicole (Nathalie Nell), a young nurse, goes bike riding one day to a friend’s house. Four men (Marco Perrin, Gilles Tamiz, Bernard Granger, Daniel Auteuil) spot her at a cafe and begin following her in a van. Once she reaches a remote area they drive her off the road and force her into the back of the van where she’s taken to a remote shed and brutally raped and humiliated. Once it’s over she’s brought back to the dark road, thrown to the pavement, and warned not to tell anyone. Initially she feels ashamed and doesn’t want to talk about it, but then while making a house call to one of her patients (Marianne Epin) she sees a picture of one of the rapists on the wall, who’s apparently a married family man living a normal life. She’s enraged that these men can go on living like nothing happened while she remains emotionally and mentally shaken. She becomes motivated to bring them to justice despite both her mother (Tatiana Moukhine) and boyfriend (Alain Foures) advising her not to.

This film was written and directed by Yannick Bellon, a feminist who had  worked on documentaries before doing this one. It bears a striking resemblance to Meir Zarchi’s I Spit on Your Grave, both were filmed around the same time and neither production was aware of the other. Bellon had wanted to make a movie about rape that didn’t sanitize it and would capture it in the most explicit and violent way possible. While Zarchi’s movie has gone on to achieve cult status this one has fallen into obscurity even though despite some flaws it’s easily the better of the two.

The rape scene is quite graphic though I was actually expecting it to go on longer. It lasts for about 10-minutes, which is just enough time to give the viewer a very raw and uncomfortable taste of the crime’s viciousness without exploiting it and then unlike with the Zarchi movie the film shifts back into a drama instead of a revenge horror flick. I liked this transition better as it gives greater depth to the characters including the rapists who aren’t shown as being one-dimensional backwoods thugs like in the other movie, but instead regular citizens who you’d think were nice guys if you didn’t know better. One scene even has them discussing at a bar what they feel would be a suitable punishment for a criminal who had committed another crime, showing how these men, as terrible as they are, still have a warped idea of morality for others.

I also liked the way it focuses on Nicole’s psychological recovery though here I felt it got a bit botched. Having her examined after the incident by a male doctor I didn’t think worked as she’d not trust a male being in that emotional state and insist instead on a female physician. She also expresses later to a friend (Michele Simonnet) that she no longer likes people to touch her even as her friend touches her while she says it, which doesn’t make much sense. She also goes right back to riding her bike even though I’d think it would take her a long time if ever before she’d do that again.

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Her relationship with her boyfriend and the way they no longer have sex, which frustrates him is interesting particularly the scene where he’s shown angrily walking down the street and comes upon a prostitute. I thought the film was going to have him take his frustrations out on her and thus showing how this ‘good guy’ could be, under certain circumstances, just a violent as the rapists he hates, which could’ve brought out an insightful irony, but the film only teases the idea and eventually doesn’t go there.

The reaction of the rapist’s wife who begs Nicole not to take the case to court as it would be stripping her of a ‘fine husband’ and her kids from a ‘wonderful father’ seemed absurd. I would presume most wives would be disgusted to find out what their husbands had done and would want to leave them, or at the very least refuse to believe that they had committed it. Then again I was not living in France during the 70’s, so I can’t say I know how that culture would view rape. I know they consider affairs in a much more liberal way where it’s not always the deal-breaker like it is here, but to frame rape as just being another of his ‘flings’ seemed a bit too open-minded.

Spoiler Alert!

The climactic court battle falls flat. Having the men immediately confess to what occurred once they were questioned by the authorities didn’t seem realistic. After all she didn’t decide to press charges until 6-months later, there was no semen sample, no DNA, and no other witnesses. The men could’ve denied everything and most likely gotten-off. The film ends without the viewer finding out the verdict and never knowing how stiff their penalties were, or weren’t.

I wasn’t so keen about the boyfriend, who left Nicole once she decided to go public about the rape, coming back at the end and rekindling the romance. I felt this sent the wrong message. Sometimes when a person decides to do what they think is right then that means sacrificing everything and learning to live with it including losing friendships with people that don’t agree with what they’re doing. It’s a bridge one crosses that you can’t go back on. Having her adjust to being an independent single woman, or finding a new boyfriend that wouldn’t bail on her during her time of need would’ve been a better resolution.

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My Rating: 7 out of 10

Released: January 11, 1978

Runtime: 1 Hour 55 Minutes

Not Rated

Director: Yannick Bellon

Studio: Les Films de l’Equinoxe

Available: DVD-R (French with English Subtitles) (j4hi.com)

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Posted in 70's Movies, Foreign Films, French Films, Movies with Nudity, Obscure Movies, Rape/Revenge

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Honeymoon (1985)

Posted on April 24, 2022 | Leave a comment

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Married to a stranger.

Cecile (Nathalie Baye) is a French woman living in New York City who’s at risk of having her Visa revoked due to being in a relationship with a recently arrested drug offender (Richard Berry). In order to help her remain in the country she gets involved with a shady, underground firm run by Novak (Peter Donat) who can marry her off to a stranger. Cecile is reluctant at first, but desperate enough to play along especially after she’s assured she’ll never actually see the man she is marrying and both parties are simply doing it for their own personal benefit. However, after she agrees to it and then returns home the man that is her fake husband, Zack Freestamp (John Shea), shows up at her doorstep and demands to be let in. He then takes over her apartment and acting like he’s her real husband and she’s obligated to play the role of the dutiful wife. She resists, but becomes increasingly hounded. Where ever she goes he follows and she can’t seem to ever shake-him. Due to being involved in an illegal activity she’s unable to go to the police and therefore must use her wits to outsmart him, which won’t be easy as Zack’s killed before and is used to getting what he wants.

This is one of those obscure movies, which was filmed on-location in New York, but by a French production company and thus making it a foreign film, where you wonder how it could’ve fallen through the cracks. It’s possible, as evidenced by the film’s promotional poster as seen above, that it was marketed to the wrong audience as you’d get the impression from looking at it that this was a horror/slasher film, which it’s not, and those coming to the theater expecting that were disappointed and thus gave it bad word-of-mouth. In either case it’s deserving of another look though not by those looking for a conventional thriller.

What impressed me had nothing really to do with the stalking element, but more the excellent performance by Baye, an award-winning performer in her native country though not too well known here. Her portrayal of a person lost in a cold, lonely environment really hits-home and you get a genuine feel for her desperation and how others in her same situation would react and think. If anything this movie should’ve been promoted as a drama that gives viewers insight to how foreigners that live in this country, but aren’t yet citizens, see our world and deal with the alienation, which I believe would’ve made this a critically acclaimed film instead of a forgotten one.

Shea’s casting is interesting as he’s cursed with having a boyishly cute face like he was snatched directly from a modeling agency and only given onscreen work due to his appearance over any actual talent. He had just been in Windy City where he played a sickingly sweet nice guy, so I’m sure he was determined to prove his acting range, and possibly even advised to do so by his agent, by taking a part completely different from that one. Does he succeed? Well, for the most part he’s competent, but the character would’ve been even more frightening had he been ugly instead of a pretty-boy.

Spoiler Alert!

The story fortunately doesn’t have too many loopholes and manages enough twists to keep it interesting though it does wear itself out by the end. My main complaint is the part where Cecile is taken by a blind date in his car to a darkened alley where he plans to assault her and yet she’s rescued by Zach who appears out of nowhere. I thought it was because he had again been following her, but no car that he was in is seen making it seem like he had just been in that alley by himself when they got there, but what would be the chances that out of the thousands of alleys in New York City they’d conveniently park at random at the one he was in?

There’s another scene where Zach’s being chased by the cops who are in a squad car while he’s on foot. He turns and shoots at them from behind and manages to hit the driver squarely in the head, but the prospect of him having such great aim while running is extremely low. Later a nervous and shaking Cecile shoots at someone and manages to nail-him right in the heart, but since she was clearly not confident in using a gum her great aim seemed implausible. I also didn’t care the chase through a house of mirrors at an abandoned carnival side show, which came-off as a rip-off of a similar one done in the classic Lady of Shanghai. Overall though it still has its solid moments and in need of more attention than its unfortunately gotten.

My Rating: 7 out of 10

Released: November 20, 1985

Runtime: 1 Hour 38 Minutes

Rated R

Director: Patrick Jamain

Studio: Malofilm

Available: VHS

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Posted in 80's Movies, Foreign Films, French Films, Movies that take place in the Big Apple, Movies with Nudity, Obscure Movies, Thrillers/Suspense

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The Last Metro (1980)

Posted on July 27, 2021 | Leave a comment

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Hiding from the Nazis.

Bernard (Gerard Depardieu) is a young actor, who’s also a member of the French Resistance, living in occupied Paris during World War II. He gets a part as the leading man in a play at a playhouse run by Marion (Catherine Denueve) who has taken over the business since her husband Lucas (Heinz Bennent), who was Jewish, and supposedly fled the country when the Nazis took over, but in reality is hiding-out inside the cellar. Bernard and Marion don’t get along at first, but slowly form a bond when they find a mutual enemy in the form of theater critic Daxiat (Jean-Louis Richard) who is an anti-Semite that writes a nasty review about their play, accusing it of being pro-Jewish, in an effort to close the place down, so that he can take it over.

The film, which was writer/director Francois Truffaut’s most successful movie financially and one of the highest grossing French Films ever, remains sufficiently compelling despite very little that actually happens. One of the elements though that I found intriguing was the behind-the-scenes segments revealing all the work that gets put into a play before its opening night premiere . I especially liked Nadine (Sabine Haudepin) as a young actress who tirelessly goes from one acting gig to another, sometimes multiple ones on the same day, in order to help her career and get established.

Revealing right away, or pretty much by the end of the first act, that the husband has never left the country like everyone presumes, was a mistake that lessened the intrigue. For one thing the place he is hiding in, which is the cellar of the theater, is not too creative and even has a back door leading out to the alley way, which made me feel that anyone could’ve caught on to his whereabouts a lot sooner especially as Marion sometimes leaves her visits with him by going out the back entrance. Any passer-by/snitch could see her doing this and wonder what the door lead to, or called the Nazi authorities to have them investigate. It’s also not clear how, in seemingly a few minutes time, Marion is able to hide Lucas and his bed/personal belongings, from the Gestapo when they eventually insist on checking-out the basement.

Marion’s interactions with her husband is not particularly compelling and yet these scenes take up the majority of the runtime during the second act while Depardieu, who is excellent, barely gets seen at all. Then during the third act Marion and Bernard suddenly get really into each other, but the interactions between the two needed to be shown more for this to be organic to the viewer and in fact should’ve been more the focus of the film than Lucas. Had I been the director I would’ve kept Lucas’ whereabouts a secret until near the end when Bernard finally becomes aware of it and used the mystery of whether Marion knew more about it than she lets on as part of the intrigue.

The ending is a bit of a disappointment. The tone of the film works as a drama, but then suddenly shifts with about 10 minutes to go into a quirky comedy, which doesn’t work. The story threads get wrapped up in too tidy of way leaving the dynamics of Marion’s relationship with Bernard and Lucas’ response to it wide-open. After 2 hours and 10 minutes the character arcs should’ve been better defined and since they aren’t it makes the viewer feel like the movie doesn’t really go anywhere, or lead to anything insightful, which is a shame as it’s a nice looking, period authentic production otherwise.

My Rating: 7 out of 10

Released: September 17, 1980

Runtime: 2 Hours 11 Minutes

Rated PG

Director: Francois Truffaut

Studio: Gaumont

Available: DVD, Amazon Video

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Posted in 80's Movies, Drama, Foreign Films, French Films, Political Thrillers

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