Françoise Hardy, a popular French singer and actor who had numerous Top 10 albums and singles in Europe and appeared in films including Grand Prix, has died June 11 at 80. Her son, Thomas DuTronc, revealed the news on social media but did not provide details, writing only, “Maman est partie” (mom is gone).
Hardy was diagnosed with cancer 20 years ago and had been in declining health.
She broke out with the 1962 hit “Tous les garçons et les filles,” which topped the singles charts in her homeland and several other countries. She followed that with a second French No. 1, “C’est à l’amour auquel je pense,” later that year.
Known for her melancholic style, Hardy epitomized the “yé-yé” wave. She amassed nearly a dozen Top 10 singles in France through the 1960s, and scored nine Top 10 albums there, the most recent in 2018. She remains among the best-selling French recording artists.
Hardy also had success in Belgium,...
Hardy was diagnosed with cancer 20 years ago and had been in declining health.
She broke out with the 1962 hit “Tous les garçons et les filles,” which topped the singles charts in her homeland and several other countries. She followed that with a second French No. 1, “C’est à l’amour auquel je pense,” later that year.
Known for her melancholic style, Hardy epitomized the “yé-yé” wave. She amassed nearly a dozen Top 10 singles in France through the 1960s, and scored nine Top 10 albums there, the most recent in 2018. She remains among the best-selling French recording artists.
Hardy also had success in Belgium,...
- 6/12/2024
- by Erik Pedersen
- Deadline Film + TV
Nearly 60 actors and public figures, including British actress Charlotte Rampling and former French first lady Carla Bruni, have signed an open letter claiming that French actor Gerard Depardieu is the victim of a “torrent of hatred.”
Depardieu, who was previously charged with rape in 2021, is currently facing a new sexual assault allegation after a French actress, Hélène Darras, filed a police complaint claiming he groped her in 2007. Last week, French President Emmanuel Macron defended the actor in an interview, saying he “makes France proud.”
The letter, published in French newspaper Le Figaro on Christmas Day,...
Depardieu, who was previously charged with rape in 2021, is currently facing a new sexual assault allegation after a French actress, Hélène Darras, filed a police complaint claiming he groped her in 2007. Last week, French President Emmanuel Macron defended the actor in an interview, saying he “makes France proud.”
The letter, published in French newspaper Le Figaro on Christmas Day,...
- 12/26/2023
- by Emily Zemler
- Rollingstone.com
The Rolling Stones have existed for six decades, yet the women who influenced the members and their music have been largely overlooked and under-appreciated. But with her new book Parachute Women: Marianne Faithfull, Marsha Hunt, Bianca Jagger, Anita Pallenberg, and the Women Behind the Rolling Stones, Elizabeth Winder is attempting to change that. In an excerpt below, Winder details the moment Anita Pallenberg’s path crossed with the band — and how she transformed them from “schoolboys” to stars.
***
September 14, 1965, Munich, Circus Krone Bau. You could tell she was different from the other Stones groupies,...
***
September 14, 1965, Munich, Circus Krone Bau. You could tell she was different from the other Stones groupies,...
- 7/24/2023
- by Elizabeth Winder
- Rollingstone.com
“I’m really enjoying this. They’re so bad in America. They rinse them in fresh water and it kills the taste.”
Twisting the Knife: Four Films by Claude Chabrol will be available on Blu-ray April 26th from Arrow Video
For five decades Claude Chabrol navigated the unpredictable waters of Cinema, leaving in his wake fifty-five feature films that remain among the most quietly devastating genre movies ever made.
The Swindle sees Chabrol at perhaps his most playful as a pair of scam artists, Isabelle Huppert and Michel Serrault, get in over their heads. But who is scamming who and who do you trust in a life built on so many lies? The murder of a 10-year-old girl sparks rumors and gossip in The Color of Lies, as suspicion falls on René (Jacques Gamblin) the dour once famous painter, now art teacher, who was the last person to see her alive.
Twisting the Knife: Four Films by Claude Chabrol will be available on Blu-ray April 26th from Arrow Video
For five decades Claude Chabrol navigated the unpredictable waters of Cinema, leaving in his wake fifty-five feature films that remain among the most quietly devastating genre movies ever made.
The Swindle sees Chabrol at perhaps his most playful as a pair of scam artists, Isabelle Huppert and Michel Serrault, get in over their heads. But who is scamming who and who do you trust in a life built on so many lies? The murder of a 10-year-old girl sparks rumors and gossip in The Color of Lies, as suspicion falls on René (Jacques Gamblin) the dour once famous painter, now art teacher, who was the last person to see her alive.
- 4/8/2022
- by Tom Stockman
- WeAreMovieGeeks.com
In general, I’m a fan of van Gogh movies—a pretty nifty micro-genre because those films examine our ingrained notions about the intrinsic relationship between artistic genius on the one hand and mental illness, poverty, and ostracism on the other.There are two major aesthetic choices that any director making a van Gogh movie must make: (1) how your own cinematic style will comment on or parallel van Gogh’s painterly aesthetics, and (2) how the main actor will portray van Gogh’s madness. Given the subject matter, the director’s own style in these movies takes on a more significant role than in your average film. The most respected movies on the subject remain Vincente Minnelli’s Lust for Life (1956), with Kirk Douglas bellowing melodramatically as a tortured soul, and Maurice Pialat’s Van Gogh (1991), with Jacques Dutronc almost sleepwalking through the picture like an apathetic desk clerk. Robert Altman...
- 10/16/2018
- MUBI
Wim Wenders' The American Friend, shot by Robby Müller, and starring Bruno Ganz and Dennis Hopper with cameos by Nicholas Ray, Sam Fuller, Jean Eustache, Gérard Blain, and Peter Lilienthal, will screen in the tribute to Dan Talbot Photo: Anne-Katrin Titze
The Film Society of Lincoln Center has announced that it will honour Dan Talbot, founder of New Yorker Films and director of the recently closed Lincoln Plaza Cinemas, with screenings of five films and a Jean-Marie Straub and Danièle Huillet short film programme in the Retrospective section of the 56th New York Film Festival.
Lincoln Plaza Cinemas closed on January 28, 2018 Photo: Anne-Katrin Titze
Bernardo Bertolucci's Before The Revolution, starring Adriana Asti and Francesco Barilli; Jean-Luc Godard's Every Man For Himself with Jacques Dutronc, Nathalie Baye, Isabelle Huppert, and the voice of Marguerite Duras; Rainer Werner Fassbinder's The Marriage Of Maria Braun, starring Hanna Schygulla; Louis Malle...
The Film Society of Lincoln Center has announced that it will honour Dan Talbot, founder of New Yorker Films and director of the recently closed Lincoln Plaza Cinemas, with screenings of five films and a Jean-Marie Straub and Danièle Huillet short film programme in the Retrospective section of the 56th New York Film Festival.
Lincoln Plaza Cinemas closed on January 28, 2018 Photo: Anne-Katrin Titze
Bernardo Bertolucci's Before The Revolution, starring Adriana Asti and Francesco Barilli; Jean-Luc Godard's Every Man For Himself with Jacques Dutronc, Nathalie Baye, Isabelle Huppert, and the voice of Marguerite Duras; Rainer Werner Fassbinder's The Marriage Of Maria Braun, starring Hanna Schygulla; Louis Malle...
- 8/23/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Close-Up is a feature that spotlights films now playing on Mubi. Andrzej Żuławski's The Most Important Thing: Love (1975) is showing November 22 - December 22, 2017 in the United States.The DevilKiedy wszedłeś między wrony, musisz krakać jak i one.
(‘When among the crows, caw as they do.’)—Polish sayingAndrzej Żuławski’s That Most Important Thing: Love (1975) is unlike any film he ever made, and was certainly a departure in his visual sensibility relative to the feature films he had made previously in his native Poland: The Third Part of the Night (1971) and The Devil (1972). Narratively and visually, the film is at once an oddity and a turning point in Żuławski’s oeuvre, and in viewing it, it would benefit the viewer to understand the director’s experience with the French cinematic tradition and its effect on his own cinema.Żuławski was born into a well-known family of artists that spanned several generations in Poland,...
(‘When among the crows, caw as they do.’)—Polish sayingAndrzej Żuławski’s That Most Important Thing: Love (1975) is unlike any film he ever made, and was certainly a departure in his visual sensibility relative to the feature films he had made previously in his native Poland: The Third Part of the Night (1971) and The Devil (1972). Narratively and visually, the film is at once an oddity and a turning point in Żuławski’s oeuvre, and in viewing it, it would benefit the viewer to understand the director’s experience with the French cinematic tradition and its effect on his own cinema.Żuławski was born into a well-known family of artists that spanned several generations in Poland,...
- 12/1/2017
- MUBI
Emerging from his politically radical period of low-budget, didactic political commentaries with revolutionary overtones, produced primarily on 16mm or tape for television broadcast, prolific French avant-garde iconoclast Jean-Luc Godard unexpectedly returned to commercial filmmaking with Every Man for Himself, finding reinvention in the age of video — a new formal frontier for the now-middle-aged provocateur. Godard’s star-studded return to more conventional cinemas, featuring Isabelle Huppert, Nathalie Baye, and Jacques Dutronc as Paul Godard (of course), a loathsome filmmaker humiliated by having been reduced to working for a TV studio, though shy of being considered a phenomenon in France or elsewhere, was well-publicized worldwide. Uncharacteristically, the aging filmmaker promoted the film extensively, pensively referring to it as his “second first film,” a somewhat deadpan admission that, to begin again, he had to shed the baggage of his underground period. Through this mainstream amelioration began a self-reflective period of filmmaking, reverse-engineering his formal fascinations — disruptive non-linear editing,...
- 10/18/2017
- by The Film Stage
- The Film Stage
Vincent Van Gogh has been portrayed more than once on both the big and small screen. Kirk Douglas played the tragic painter in “Lust For Life,” Jacques Dutronc portrayed the artist in “Van Gogh,” Tchéky Karyo got out the paint for “Vincent et moi,” and even Martin Scorsese took on the role in Akira Kurosawa‘s “Dreams.” However, it’s not until Dorota Kobiela and Hugh Welchman‘s “Loving Vincent” that someone thought to try and tell Van Gogh’s story with an animation style that mimics his work.
Continue reading New Trailer For ‘Loving Vincent’ Reveals Gorgeous Feature Film Animated By Oil Paintings at The Playlist.
Continue reading New Trailer For ‘Loving Vincent’ Reveals Gorgeous Feature Film Animated By Oil Paintings at The Playlist.
- 8/7/2017
- by Kevin Jagernauth
- The Playlist
Exclusive: Filming has commenced on The Time Of Their Lives, also starring Franco Nero and Joely Richardson; Sir Tim Rice to oversee the soundtrack.
Shoot is underway in France on road-trip-comedy The Time Of Their Lives, starring Golden Globe-winner Dame Joan Collins (Dynasty) and BAFTA-winner Pauline Collins, OBE (Shirley Valentine).
In writer-director Roger Goldby’s (Call The Midwife) feature, a former Hollywood siren Helen (Joan Collins), who is determined to gatecrash her ex-lover’s funeral, escapes her London retirement home with the help of Priscilla (Pauline Collins), a downtrodden English housewife trapped in an unhappy marriage.
Franco Nero (Django Unchained) will play Alberto, a famous and eccentric Italian painter. Alberto becomes entangled with the two ladies and inspired by their madness, joins their road trip and, in turn, becomes part of an uneasy love triangle between Helen and Priscilla, who both vie for his attentions.
The main cast are joined by Joely Richardson (101 Dalmatians) and Ronald Pickup (Best...
Shoot is underway in France on road-trip-comedy The Time Of Their Lives, starring Golden Globe-winner Dame Joan Collins (Dynasty) and BAFTA-winner Pauline Collins, OBE (Shirley Valentine).
In writer-director Roger Goldby’s (Call The Midwife) feature, a former Hollywood siren Helen (Joan Collins), who is determined to gatecrash her ex-lover’s funeral, escapes her London retirement home with the help of Priscilla (Pauline Collins), a downtrodden English housewife trapped in an unhappy marriage.
Franco Nero (Django Unchained) will play Alberto, a famous and eccentric Italian painter. Alberto becomes entangled with the two ladies and inspired by their madness, joins their road trip and, in turn, becomes part of an uneasy love triangle between Helen and Priscilla, who both vie for his attentions.
The main cast are joined by Joely Richardson (101 Dalmatians) and Ronald Pickup (Best...
- 7/5/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: Filming has commenced on The Time Of Their Lives, also starring Franco Nero and Joely Richardson; Sir Tim Rice to oversee the soundtrack.
Shoot is underway in France on road-trip-comedy The Time Of Their Lives, starring Golden Globe-winner Dame Joan Collins (Dynasty) and BAFTA-winner Pauline Collins, OBE (Shirley Valentine).
In writer-director Roger Goldby’s (Call The Midwife) feature, a former Hollywood siren Helen (Joan Collins), who is determined to gatecrash her ex-lover’s funeral, escapes her London retirement home with the help of Priscilla (Pauline Collins), a downtrodden English housewife trapped in an unhappy marriage.
Franco Nero (Django Unchained) will play Alberto, a famous and eccentric Italian painter. Alberto becomes entangled with the two ladies and inspired by their madness, joins their road trip and, in turn, becomes part of an uneasy love triangle between Helen and Priscilla, who both vie for his attentions.
The main cast are joined by Joely Richardson (101 Dalmatians) and Ronald Pickup (Best...
Shoot is underway in France on road-trip-comedy The Time Of Their Lives, starring Golden Globe-winner Dame Joan Collins (Dynasty) and BAFTA-winner Pauline Collins, OBE (Shirley Valentine).
In writer-director Roger Goldby’s (Call The Midwife) feature, a former Hollywood siren Helen (Joan Collins), who is determined to gatecrash her ex-lover’s funeral, escapes her London retirement home with the help of Priscilla (Pauline Collins), a downtrodden English housewife trapped in an unhappy marriage.
Franco Nero (Django Unchained) will play Alberto, a famous and eccentric Italian painter. Alberto becomes entangled with the two ladies and inspired by their madness, joins their road trip and, in turn, becomes part of an uneasy love triangle between Helen and Priscilla, who both vie for his attentions.
The main cast are joined by Joely Richardson (101 Dalmatians) and Ronald Pickup (Best...
- 7/5/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Every Man for Himself
Written by Anne-Marie Miéville and Jean-Claude Carrière
Directed by Jean-Luc Godard
France, 1980
Jean-Luc Godard’s 1980 feature, Sauve qui peut (la vie), or Every Man for Himself, was something of a return to form for the director (if one can really say Godard ever had a typical form to return to). It was, as he declared, and as is often quoted, his “second first film.” As far as his most recent releases were concerned, there was certainly a break from those heavily divisive, politicized, and formally experimental works of the 1970s. This film, comparatively speaking, is indeed more mainstream than that. In its general reliance on narrative, it goes back to Godard’s pre-’67 work, with a beginning, middle, and end (even if not always in that order, as he once commented). But it’s not quite accurate to say that Every Man for Himself is necessarily...
Written by Anne-Marie Miéville and Jean-Claude Carrière
Directed by Jean-Luc Godard
France, 1980
Jean-Luc Godard’s 1980 feature, Sauve qui peut (la vie), or Every Man for Himself, was something of a return to form for the director (if one can really say Godard ever had a typical form to return to). It was, as he declared, and as is often quoted, his “second first film.” As far as his most recent releases were concerned, there was certainly a break from those heavily divisive, politicized, and formally experimental works of the 1970s. This film, comparatively speaking, is indeed more mainstream than that. In its general reliance on narrative, it goes back to Godard’s pre-’67 work, with a beginning, middle, and end (even if not always in that order, as he once commented). But it’s not quite accurate to say that Every Man for Himself is necessarily...
- 2/10/2015
- by Jeremy Carr
- SoundOnSight
Sean Penn: Honorary César goes Hollywood – again (photo: Sean Penn in '21 Grams') Sean Penn, 54, will receive the 2015 Honorary César (César d'Honneur), the French Academy of Motion Picture Arts and Crafts has announced. That means the French Academy's powers-that-be are once again trying to make the Prix César ceremony relevant to the American media. Their tactic is to hand out the career award to a widely known and relatively young – i.e., media friendly – Hollywood celebrity. (Scroll down for more such examples.) In the words of the French Academy, Honorary César 2015 recipient Sean Penn is a "living legend" and "a stand-alone icon in American cinema." It has also hailed the two-time Best Actor Oscar winner as a "mythical actor, a politically active personality and an exceptional director." Penn will be honored at the César Awards ceremony on Feb. 20, 2015. Sean Penn movies Sean Penn movies range from the teen comedy...
- 1/28/2015
- by Steve Montgomery
- Alt Film Guide
Long overdue for the Criterion treatment, Nicolas Roeg's "Don't Look Now" (1973), starring Julie Christie and Donald Sutherland as a couple torn violently asunder by the accidental death of their daughter, comes to DVD/4K Blu-ray February 10, 2015. This horrific, sublime arthouse horror film is, in ways beyond a similarly threaded plot, the definitive precursor to Lars von Trier's "Antichrist" (2009, also on Criterion). Jean-Luc Godard's intricately sculpted, perhaps more "commercial" "Every Man For Himself" (1980) is a defiant cinematic puzzle turning on the lives of a handsome, Swiss TV producer (Jacques Dutronc), his disenchanted mistress (Nathalie Bayer) and a redheaded country girl (a young Isabelle Huppert) who has come to the city to work as a prostitute. Criterion releases this under-appreciated gem February 3, 2015. Also coming down the pike: Fellini's work of pagan poetry "Satyricon" (1969) finds the Italian auteur at his...
- 11/17/2014
- by Ryan Lattanzio
- Thompson on Hollywood
If you're reading this you're likely a fan of the Criterion Collection, which also means as much as you may be interested to know what new titles are coming to the collection in February 2015, if you aren't yet aware, Barnes & Noble is currently having their 50% of Criterion sale right now, click here for more on that. However, if you're already hip to the sale, let's have a look at the new titles that were just announced. The month will begin on February 3 with a new film from Jean-Luc Godard, his 1980 feature Every Man for Himself starring Jacques Dutronc, Nathalie Baye and Isabelle Huppert. It's a film Godard refers to as a second debut and is described as an examination of sexual relationships, in which three protagonists interact in different combinations. The release includes a new high-definition digital restoration, a short video titled Le scenario created by Godard to secure financing for the film,...
- 11/17/2014
- by Brad Brevet
- Rope of Silicon
Coming to Blu-ray for the first time from the Cohen Media Group, Claude Chabrol’s late career thriller, Nightcap (better known by its French title, Merci Pour Le Chocolat) is often lumped into conversation as merely one of the seven films the director made with actress Isabelle Huppert. While it is certainly outshined by some of their finer achievements together (particularly The Story of Women and La Ceremonie), it stands firmly on its own as an odd exercise that’s more character study than murder mystery. Chabrol seems amused at the convention and convenience of the narrative, supplied by Charlotte Armstrong’s nonsensically titled 1948 novel The Chocolate Cobweb. Armstrong was in high regard in the 1950’s (her novel Don’t Bother to Knock was turned into a very strange Marilyn Monroe vehicle in 1952), and Chabrol seems keen on retaining the rather deliberate ambience from a tradition of genre gone by.
- 10/7/2014
- by Nicholas Bell
- IONCINEMA.com
The actors will star in The Time of Their Lives, a film that's 'Thelma & Louise with a hint of The Best Exotic Marigold Hotel' according to Joan Collins
• Stuart Heritage on which other same-surname movies should be greenlit
From Lethal Weapon to Butch Cassidy and the Sundance Kid, the buddy movie has long been dominated by men – but thanks to Joan Collins and Pauline Collins, all that is set to change.
The British actors will star in The Time of Their Lives, a road movie in which Joan plays a former Hollywood star who escapes her London retirement home and travels to France for her ex-husband's funeral. Pauline plays a housewife with a failing marriage who joins the trip, and the pair become romantically embroiled with a reclusive Frenchman played by Franco Nero.
"I was very excited by the script, which was sent to me about one month ago,...
• Stuart Heritage on which other same-surname movies should be greenlit
From Lethal Weapon to Butch Cassidy and the Sundance Kid, the buddy movie has long been dominated by men – but thanks to Joan Collins and Pauline Collins, all that is set to change.
The British actors will star in The Time of Their Lives, a road movie in which Joan plays a former Hollywood star who escapes her London retirement home and travels to France for her ex-husband's funeral. Pauline plays a housewife with a failing marriage who joins the trip, and the pair become romantically embroiled with a reclusive Frenchman played by Franco Nero.
"I was very excited by the script, which was sent to me about one month ago,...
- 12/10/2013
- by Ben Beaumont-Thomas
- The Guardian - Film News
Exclusive: Franco Nero, lyricist Tim Rice, designer Eve Stewart also attached to Roger Goldby project.
Joan Collins, Pauline Collins and Franco Nero are attached to star in UK road movie The Time of Their Lives, from The Waiting Room writer-director Roger Goldby.
Former Dynasty star Collins is set to play Helen, a former Hollywood siren determined to gatecrash her ex-husband’s funeral at a glamorous French hideaway. Helen escapes her London retirement home with the help of Priscilla (Pauline Collins), a repressed English housewife stuck in a bad marriage.
Nero, whose prolific career includes the starring role in 1966 Western Django, will play a famous French recluse who becomes part of an uneasy love triangle with the two women.
Sarah Sulick produces for Bright Pictures, the company she set up with Roger Goldby to make his debut feature The Waiting Room, which premiered at Edinburgh and sold to Lionsgate in the UK, IFC Films in the...
Joan Collins, Pauline Collins and Franco Nero are attached to star in UK road movie The Time of Their Lives, from The Waiting Room writer-director Roger Goldby.
Former Dynasty star Collins is set to play Helen, a former Hollywood siren determined to gatecrash her ex-husband’s funeral at a glamorous French hideaway. Helen escapes her London retirement home with the help of Priscilla (Pauline Collins), a repressed English housewife stuck in a bad marriage.
Nero, whose prolific career includes the starring role in 1966 Western Django, will play a famous French recluse who becomes part of an uneasy love triangle with the two women.
Sarah Sulick produces for Bright Pictures, the company she set up with Roger Goldby to make his debut feature The Waiting Room, which premiered at Edinburgh and sold to Lionsgate in the UK, IFC Films in the...
- 12/9/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
(Maurice Pialat, 1991; Eureka!, 15)
One of the most prickly mavericks of French cinema, Maurice Pialat (1925-2003) was a painter, documentary film-maker and occasional actor before making his feature debut in his mid-40s with L'enfance nue, an intense realistic film about a disturbed child being passed from family to family.
In 1987 Pialat famously waved his fist at a hostile Cannes audience when receiving the Palme d'Or for Under Satan's Sun (a complex Catholic movie from a novel by Georges Bernanos starring Gérard Depardieu in one of his several Pialat films). Norman Mailer was a member of the jury. Four years later Pialat flourished his fist again at the bourgeoisie in this lengthy, characteristically unromantic and unsentimental contribution to the centenary anniversary of Vincent van Gogh's death. It's a far cry in tone from the Vincente Minnelli-directed biopic Lust for Life, starring Kirk Douglas, released in France as La Vie...
One of the most prickly mavericks of French cinema, Maurice Pialat (1925-2003) was a painter, documentary film-maker and occasional actor before making his feature debut in his mid-40s with L'enfance nue, an intense realistic film about a disturbed child being passed from family to family.
In 1987 Pialat famously waved his fist at a hostile Cannes audience when receiving the Palme d'Or for Under Satan's Sun (a complex Catholic movie from a novel by Georges Bernanos starring Gérard Depardieu in one of his several Pialat films). Norman Mailer was a member of the jury. Four years later Pialat flourished his fist again at the bourgeoisie in this lengthy, characteristically unromantic and unsentimental contribution to the centenary anniversary of Vincent van Gogh's death. It's a far cry in tone from the Vincente Minnelli-directed biopic Lust for Life, starring Kirk Douglas, released in France as La Vie...
- 11/10/2013
- by Philip French
- The Guardian - Film News
Whenever depression looms for Joe Queenan, it's time to turn to Johnny Hallyday. What is it about the films of the French Elvis Presley that holds the answer to all life's woes?
The other day I was feeling unusually melancholy, what with the economy in the tank and construction workers building evil McMansions next to my house. One of my friends suggested I watch a Hong Kong gangster movie called Vengeance. He said the film was completely insane and would take my mind off my troubles. I told him all Hong Kong gangster movies were completely insane, but he fired back: "No – this one is really insane."
He was right.
Vengeance, released in 2009, is actually a Franco-Hong Kong collaboration that pools the resources of the legendary actor/director Johnnie To and those of the legendary rock star/actor Johnny Hallyday, the French Elvis Presley. Hallyday, né Jean-Philippe Smet, is in fact Belgian,...
The other day I was feeling unusually melancholy, what with the economy in the tank and construction workers building evil McMansions next to my house. One of my friends suggested I watch a Hong Kong gangster movie called Vengeance. He said the film was completely insane and would take my mind off my troubles. I told him all Hong Kong gangster movies were completely insane, but he fired back: "No – this one is really insane."
He was right.
Vengeance, released in 2009, is actually a Franco-Hong Kong collaboration that pools the resources of the legendary actor/director Johnnie To and those of the legendary rock star/actor Johnny Hallyday, the French Elvis Presley. Hallyday, né Jean-Philippe Smet, is in fact Belgian,...
- 12/9/2011
- by Joe Queenan
- The Guardian - Film News
The Youth In Revolt soundtrack. You know, Michael Cera is becoming a pretty trustworthy star. Seems odd to use that word, the S word, for a young weedy guy who’s carved a niche for himself playing young weedy guys, but his ironic deadpan humour and his tendency to pick pretty solid projects (Year One certainly should have been funny) mean he’s actually quite an attractive box office draw, like an uncool Michael J Fox. Nick & Norah’s Infinite Playlist is exactly the kind of film you should be making if your face, voice and persona mean you’re going to be frolicking in the youth market for a few years to come. He doesn’t tend to make by-the-numbers crap is what I’m saying, which those of you who are under 21 should all thank him for, because it is on your behalf that he foregoes the crap.
- 1/11/2010
- by Chris Neilan
- Movie-moron.com
Year: 2009
Directors: Miguel Arteta
Writers: Gustin Nash & C.D. Payne (novel)
IMDb: link
Trailer: link
Review by: Hal MacDermot
Rating: 7.8 out of 10
Youth is Revolt is the screen adaptation of C.D. Payne’s cult book series charting the progress of the awkward, sex obsessed, super smart teen that is Nick Twisp. Michael Cera is made to inhabit this deadpan absurdist comedy world, a place where the teens are way more intelligent than the adults. It’s not an original take on life, but it’s probably how most teens think, so “whatever.” The strong supporting cast includes Steve Buscemi as Dad, and Zach Galifianakis as Jerry, one of his Mum’s pig boyfriends. Gustin Nash’s script feels slightly jerky, but suspending disbelief when you are laughing is usually easy.
Nick Twisp believes everyone is getting more sex than him, and he’s probably right. His separated parents certainly are. Buscemi is banging half-his-age-hottie Ari Graynor,...
Directors: Miguel Arteta
Writers: Gustin Nash & C.D. Payne (novel)
IMDb: link
Trailer: link
Review by: Hal MacDermot
Rating: 7.8 out of 10
Youth is Revolt is the screen adaptation of C.D. Payne’s cult book series charting the progress of the awkward, sex obsessed, super smart teen that is Nick Twisp. Michael Cera is made to inhabit this deadpan absurdist comedy world, a place where the teens are way more intelligent than the adults. It’s not an original take on life, but it’s probably how most teens think, so “whatever.” The strong supporting cast includes Steve Buscemi as Dad, and Zach Galifianakis as Jerry, one of his Mum’s pig boyfriends. Gustin Nash’s script feels slightly jerky, but suspending disbelief when you are laughing is usually easy.
Nick Twisp believes everyone is getting more sex than him, and he’s probably right. His separated parents certainly are. Buscemi is banging half-his-age-hottie Ari Graynor,...
- 10/26/2009
- QuietEarth.us
See How They Run
This French sex comedy from actor-turned-director Michel Blanc (Grosse Fatigue) had audiences in francophone Montreal chuckling from start to finish.
Jettisoning plot in favor of exploring a network of differing relationships, Blanc uses crisp dialogue to pilot a lighthearted trawl through the infidelities of the French middle class. As dramatic as it humorous, this film certainly should hit with sophisticated audiences who've been around long enough to laugh at life's myriad imperfections, inconsistencies and contradictions. See How They Run (Embrassez qui vous voudrez) received its world premiere out of competition here in Montreal.
The slimline story revolves around a group of competitive pals taking a well-needed summer vacation. The slightly snobby Elisabeth (Charlotte Rampling) takes off for the beach, leaving her caring but philandering husband Bertrand (Jacques Dutronc) behind. At the hotel with man-hungry friend Julie, Elisabeth runs into her downwardly mobile neighbors Vero and Jerome, who are so broke they're holidaying in a trailer park. The women are soon joined by the glamorous Lulu (Carole Bouquet), who's having trouble with her violently possessive lover, played by Blanc. The resulting entanglements gradually intermingle to illustrate the proverbial tangled web of life.
This film's verbal humor is a cracking barrage of parry and thrust. The girl talk is especially feisty, with Lulu and Elisabeth wondering what it's like to "come all over the place and orgasm like a man" and Vero adding that she'd settle for knowing what it's like to orgasm as a woman. But there's far more going on here than just comedy. The jokes are Blanc's way of bringing out the drama.
See How They Run is a compassionate film that likes its characters in spite of their many peccadilloes. It's not easy to be happy, asserts director Blanc, and there's nothing wrong with telling a big white lie if it helps everyone get through the day. Husband Bertrand is a master of all this domestic duplicity, having an affair with both his wife's friend Julie and his shy transsexual housekeeper. Bertrand's advice that life is hard and you just have to "ziz-zag your way through it" is at the core of the film.
Rampling's performance is multidimensional -- at once haughty and vulnerable. As Elisabeth, she conceals her anguish at Bertrand's detached attitude toward their marriage and decides that it isn't necessarily a rejection of her. Dutronc plays it with mild amusement -- a man so comfortable with his secretive way of life that he feels no guilt about it. Blanc the actor adds some physical humor, continually searching for wife Lulu's suspected lover and always punishing the wrong man.
Blanc finds the hidden undercurrents in these relationships and pushes them up to the surface. It's testament to his skill as a comic and dramatist that he can use humor to bring to light such deep and human duplicities without ever appearing crude or crass.
SEE HOW THEY RUN
UGC Presents
Credits:
Director-writer: Michel Blanc
Based on the novel "Summer Things" by: Joseph Connolly
Producer: Yves Marmion
Co-producers: Julie Baines, Franco Vincenzo Porcelli
Director of photography: Sean Bobbit
Production designer: Benoit Barouh
Costume designer: Oliver Beriot
Editor: Marilyn Monthieux
Music: Mark Russell
Cast:
Elisabeth: Charlotte Rampling
Bertrand: Jacques Dutronc
Lulu: Carole Bouquet
Jean-Pierre: Michel Blanc
Running time -- 103 minutes
No MPAA rating...
Jettisoning plot in favor of exploring a network of differing relationships, Blanc uses crisp dialogue to pilot a lighthearted trawl through the infidelities of the French middle class. As dramatic as it humorous, this film certainly should hit with sophisticated audiences who've been around long enough to laugh at life's myriad imperfections, inconsistencies and contradictions. See How They Run (Embrassez qui vous voudrez) received its world premiere out of competition here in Montreal.
The slimline story revolves around a group of competitive pals taking a well-needed summer vacation. The slightly snobby Elisabeth (Charlotte Rampling) takes off for the beach, leaving her caring but philandering husband Bertrand (Jacques Dutronc) behind. At the hotel with man-hungry friend Julie, Elisabeth runs into her downwardly mobile neighbors Vero and Jerome, who are so broke they're holidaying in a trailer park. The women are soon joined by the glamorous Lulu (Carole Bouquet), who's having trouble with her violently possessive lover, played by Blanc. The resulting entanglements gradually intermingle to illustrate the proverbial tangled web of life.
This film's verbal humor is a cracking barrage of parry and thrust. The girl talk is especially feisty, with Lulu and Elisabeth wondering what it's like to "come all over the place and orgasm like a man" and Vero adding that she'd settle for knowing what it's like to orgasm as a woman. But there's far more going on here than just comedy. The jokes are Blanc's way of bringing out the drama.
See How They Run is a compassionate film that likes its characters in spite of their many peccadilloes. It's not easy to be happy, asserts director Blanc, and there's nothing wrong with telling a big white lie if it helps everyone get through the day. Husband Bertrand is a master of all this domestic duplicity, having an affair with both his wife's friend Julie and his shy transsexual housekeeper. Bertrand's advice that life is hard and you just have to "ziz-zag your way through it" is at the core of the film.
Rampling's performance is multidimensional -- at once haughty and vulnerable. As Elisabeth, she conceals her anguish at Bertrand's detached attitude toward their marriage and decides that it isn't necessarily a rejection of her. Dutronc plays it with mild amusement -- a man so comfortable with his secretive way of life that he feels no guilt about it. Blanc the actor adds some physical humor, continually searching for wife Lulu's suspected lover and always punishing the wrong man.
Blanc finds the hidden undercurrents in these relationships and pushes them up to the surface. It's testament to his skill as a comic and dramatist that he can use humor to bring to light such deep and human duplicities without ever appearing crude or crass.
SEE HOW THEY RUN
UGC Presents
Credits:
Director-writer: Michel Blanc
Based on the novel "Summer Things" by: Joseph Connolly
Producer: Yves Marmion
Co-producers: Julie Baines, Franco Vincenzo Porcelli
Director of photography: Sean Bobbit
Production designer: Benoit Barouh
Costume designer: Oliver Beriot
Editor: Marilyn Monthieux
Music: Mark Russell
Cast:
Elisabeth: Charlotte Rampling
Bertrand: Jacques Dutronc
Lulu: Carole Bouquet
Jean-Pierre: Michel Blanc
Running time -- 103 minutes
No MPAA rating...
- 9/9/2002
- The Hollywood Reporter - Movie News
See How They Run
This French sex comedy from actor-turned-director Michel Blanc ("Grosse Fatigue") had audiences in francophone Montreal chuckling from start to finish.
Jettisoning plot in favor of exploring a network of differing relationships, Blanc uses crisp dialogue to pilot a lighthearted trawl through the infidelities of the French middle class. As dramatic as it humorous, this film certainly should hit with sophisticated audiences who've been around long enough to laugh at life's myriad imperfections, inconsistencies and contradictions. "See How They Run" (Embrassez qui vous voudrez) received its world premiere out of competition here in Montreal.
The slimline story revolves around a group of competitive pals taking a well-needed summer vacation. The slightly snobby Elisabeth (Charlotte Rampling) takes off for the beach, leaving her caring but philandering husband Bertrand (Jacques Dutronc) behind. At the hotel with man-hungry friend Julie, Elisabeth runs into her downwardly mobile neighbors Vero and Jerome, who are so broke they're holidaying in a trailer park. The women are soon joined by the glamorous Lulu (Carole Bouquet), who's having trouble with her violently possessive lover, played by Blanc. The resulting entanglements gradually intermingle to illustrate the proverbial tangled web of life.
This film's verbal humor is a cracking barrage of parry and thrust. The girl talk is especially feisty, with Lulu and Elisabeth wondering what it's like to "come all over the place and orgasm like a man" and Vero adding that she'd settle for knowing what it's like to orgasm as a woman. But there's far more going on here than just comedy. The jokes are Blanc's way of bringing out the drama.
"See How They Run" is a compassionate film that likes its characters in spite of their many peccadilloes. It's not easy to be happy, asserts director Blanc, and there's nothing wrong with telling a big white lie if it helps everyone get through the day. Husband Bertrand is a master of all this domestic duplicity, having an affair with both his wife's friend Julie and his shy transsexual housekeeper. Bertrand's advice that life is hard and you just have to "ziz-zag your way through it" is at the core of the film.
Rampling's performance is multidimensional -- at once haughty and vulnerable. As Elisabeth, she conceals her anguish at Bertrand's detached attitude toward their marriage and decides that it isn't necessarily a rejection of her. Dutronc plays it with mild amusement -- a man so comfortable with his secretive way of life that he feels no guilt about it. Blanc the actor adds some physical humor, continually searching for wife Lulu's suspected lover and always punishing the wrong man.
Blanc finds the hidden undercurrents in these relationships and pushes them up to the surface. It's testament to his skill as a comic and dramatist that he can use humor to bring to light such deep and human duplicities without ever appearing crude or crass.
SEE HOW THEY RUN
UGC Presents
Credits:
Director-writer: Michel Blanc
Based on the novel "Summer Things" by: Joseph Connolly
Producer: Yves Marmion
Co-producers: Julie Baines, Franco Vincenzo Porcelli
Director of photography: Sean Bobbit
Production designer: Benoit Barouh
Costume designer: Oliver Beriot
Editor: Marilyn Monthieux
Music: Mark Russell
Cast:
Elisabeth: Charlotte Rampling
Bertrand: Jacques Dutronc
Lulu: Carole Bouquet
Jean-Pierre: Michel Blanc
Running time -- 103 minutes
No MPAA rating...
Jettisoning plot in favor of exploring a network of differing relationships, Blanc uses crisp dialogue to pilot a lighthearted trawl through the infidelities of the French middle class. As dramatic as it humorous, this film certainly should hit with sophisticated audiences who've been around long enough to laugh at life's myriad imperfections, inconsistencies and contradictions. "See How They Run" (Embrassez qui vous voudrez) received its world premiere out of competition here in Montreal.
The slimline story revolves around a group of competitive pals taking a well-needed summer vacation. The slightly snobby Elisabeth (Charlotte Rampling) takes off for the beach, leaving her caring but philandering husband Bertrand (Jacques Dutronc) behind. At the hotel with man-hungry friend Julie, Elisabeth runs into her downwardly mobile neighbors Vero and Jerome, who are so broke they're holidaying in a trailer park. The women are soon joined by the glamorous Lulu (Carole Bouquet), who's having trouble with her violently possessive lover, played by Blanc. The resulting entanglements gradually intermingle to illustrate the proverbial tangled web of life.
This film's verbal humor is a cracking barrage of parry and thrust. The girl talk is especially feisty, with Lulu and Elisabeth wondering what it's like to "come all over the place and orgasm like a man" and Vero adding that she'd settle for knowing what it's like to orgasm as a woman. But there's far more going on here than just comedy. The jokes are Blanc's way of bringing out the drama.
"See How They Run" is a compassionate film that likes its characters in spite of their many peccadilloes. It's not easy to be happy, asserts director Blanc, and there's nothing wrong with telling a big white lie if it helps everyone get through the day. Husband Bertrand is a master of all this domestic duplicity, having an affair with both his wife's friend Julie and his shy transsexual housekeeper. Bertrand's advice that life is hard and you just have to "ziz-zag your way through it" is at the core of the film.
Rampling's performance is multidimensional -- at once haughty and vulnerable. As Elisabeth, she conceals her anguish at Bertrand's detached attitude toward their marriage and decides that it isn't necessarily a rejection of her. Dutronc plays it with mild amusement -- a man so comfortable with his secretive way of life that he feels no guilt about it. Blanc the actor adds some physical humor, continually searching for wife Lulu's suspected lover and always punishing the wrong man.
Blanc finds the hidden undercurrents in these relationships and pushes them up to the surface. It's testament to his skill as a comic and dramatist that he can use humor to bring to light such deep and human duplicities without ever appearing crude or crass.
SEE HOW THEY RUN
UGC Presents
Credits:
Director-writer: Michel Blanc
Based on the novel "Summer Things" by: Joseph Connolly
Producer: Yves Marmion
Co-producers: Julie Baines, Franco Vincenzo Porcelli
Director of photography: Sean Bobbit
Production designer: Benoit Barouh
Costume designer: Oliver Beriot
Editor: Marilyn Monthieux
Music: Mark Russell
Cast:
Elisabeth: Charlotte Rampling
Bertrand: Jacques Dutronc
Lulu: Carole Bouquet
Jean-Pierre: Michel Blanc
Running time -- 103 minutes
No MPAA rating...
- 9/9/2002
- The Hollywood Reporter - Movie News
Merci Pour le Chocolat
Made in 2000, Claude Chabrol's sophisticated psychological drama posing as a sly suspense thriller makes fine use of the Hitchcockian style, which garnered him acclaim during the late 1960s, to give the film structure.
But the main focus of "Merci Pour le Chocolat" (Nightcap) is character rather than story. The director downplays suspense to mount a delicate study of the mind of a perverse protagonist. "Chocolat" opens Wednesday at the Film Forum in New York.
Like Chabrol's "La Rupture" (1970), "Chocolat" is based on a book by Charlotte Armstrong. As he did with "Rupture", Chabrol takes a knife to the cozy existence of the bourgeoisie. But here, he's not interested in the social or personal conditions that unbalance people and lead them to commit horrendous acts. The psychology of "Chocolat" is one of pure, unadulterated malice for its own sake.
The story centers on a rich Swiss-French family. The calculating, charming Mika (Isabelle Huppert) marries concert pianist Andre (Jacques Dutronc) after the death of his wife in a car accident. Andre's son Guillaume is insecure because he lacks his father's talent. He becomes even more sullen when talented pianist Jeanne (Anne Mouglalis) arrives, claiming that she was switched at birth with Guillaume.
As the viewer settles down for a story of mistaken identity, Chabrol throws in a new twist: Jeanne claims that she's discovered Mika lacing Guillaume's hot chocolate with the date rape drug Rophynol. But, the boy asks, why would she do that? The various plot strands coalesce in a disturbing denouement that is as understated as it is perverse.
The psychological aspects ring disconcertingly true, perhaps because Chabrol co-wrote "Chocolat" with a child psychologist (Caroline Eliacheff, who also co-scripted 1995's "La Ceremonie"). Chabrol's command of filmic elements is never less than masterful throughout, and the movie compares to his earlier classic works.
But the main focus of "Merci Pour le Chocolat" (Nightcap) is character rather than story. The director downplays suspense to mount a delicate study of the mind of a perverse protagonist. "Chocolat" opens Wednesday at the Film Forum in New York.
Like Chabrol's "La Rupture" (1970), "Chocolat" is based on a book by Charlotte Armstrong. As he did with "Rupture", Chabrol takes a knife to the cozy existence of the bourgeoisie. But here, he's not interested in the social or personal conditions that unbalance people and lead them to commit horrendous acts. The psychology of "Chocolat" is one of pure, unadulterated malice for its own sake.
The story centers on a rich Swiss-French family. The calculating, charming Mika (Isabelle Huppert) marries concert pianist Andre (Jacques Dutronc) after the death of his wife in a car accident. Andre's son Guillaume is insecure because he lacks his father's talent. He becomes even more sullen when talented pianist Jeanne (Anne Mouglalis) arrives, claiming that she was switched at birth with Guillaume.
As the viewer settles down for a story of mistaken identity, Chabrol throws in a new twist: Jeanne claims that she's discovered Mika lacing Guillaume's hot chocolate with the date rape drug Rophynol. But, the boy asks, why would she do that? The various plot strands coalesce in a disturbing denouement that is as understated as it is perverse.
The psychological aspects ring disconcertingly true, perhaps because Chabrol co-wrote "Chocolat" with a child psychologist (Caroline Eliacheff, who also co-scripted 1995's "La Ceremonie"). Chabrol's command of filmic elements is never less than masterful throughout, and the movie compares to his earlier classic works.
- 7/30/2002
- The Hollywood Reporter - Movie News
Nightcap
Juliette Binoche isn't the only French actress who can work wonders with chocolat.
Isabelle Huppert happens to make a killer hot cocoa (perhaps literally) in Claude Chabrol's elegantly perverse "Nightcap" ("Merci Pour Le Chocolat").
Based loosely on a novel by the late American mystery writer Charlotte Armstrong, this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short.
A presentation of this year's City of Lights, City of Angels festival of fresh French cinema taking place at the DGA headquarters, Chabrol's 52nd film finds the French Hitchcock in fine if not quite vintage form and certainly deserving of American exposure beyond a single screening.
Huppert, who has collaborated with the filmmaker on a number of occasions, is fascinating to watch as the quietly calculating Marie-Claire, the newly married second wife of concert pianist Andre Polonski (Jacques Dutronc) and CEO of a large Swiss chocolate manufacturer inherited from her father.
Marie-Claire likes her spotless household to run like a Swiss watch, but there's a telltale crack in the sun-filtered austerity -- one which grows ominously deeper with the arrival of an uninvited guest.
It seems that due to a maternity ward mix-up, Polonski's languid son, Guillaume (Rodolphe Pauly) and the daughter of another couple were ascribed to the wrong parents long ago. The initial confusion was soon cleared up, or was it?
Tickled by the notion that she might really be the daughter of an accomplished virtuoso, young Jeanne Pollet (Anna Mouglalis), herself a budding pianist, shows up on the Polonski doorstep one day to find out the truth, and, in the process, uncovers substantially more than she anticipated.
For instance, could Marie-Claire be keeping her husband and stepson perpetually doped up on daily servings of Rohypnol-laced hot cocoa? Was the death of Guillaume's mother really a suicide?
Thanks to Chabrol's meticulously crafted direction, the answers are spun out at a neatly unhurried but never less than intriguing pace.
He also pulls a subtle yet palpable menace out of Huppert, whose performances have been known to verge on the catatonic if allowed to go unchecked. It's one of her most satisfying turns in years, and one which was rewarded with a best actress prize at this year's Lumieres de Paris Awards.
It's too bad that the script, by Chabrol and Caroline Eliacheff, doesn't provide a more potent payoff. After all that delicious build-up, one was expecting a nightcap that packed a greater kick.
Still, the picture, along with Dominik Moll's soon-to-be-released "With a Friend Like Harry", successfully evoke some unmistakably Hitchcockian mischief-making without resorting to the usual lazy mimicry.
NIGHTCAP ("Merci Pour Le Chocolat")
MK2 Prods.
Director: Claude Chabrol
Screenwriters: Caroline Eliacheff & Claude Chabrol
Based on "The Chocolate Cobweb" by Charlotte Armstrong
Producer: Marin Karmitz
Executive producer: Jean-Louis Porchet
Director of photography: Renato Berta
Editor: Monique Fardouli
Costume designer: Elisabeth Tavernier
Music: Matthieu Chabrol
Color/stereo
Cast:
Marie-Claire Muller-Polonski: Isabelle Huppert
Andre Polonski: Jacques Dutronc
Jeanne Pollet: Anna Mouglalis
Guillaume Polonski: Rodolphe Pauly
Louise Pollet: Brigitte Catillon
Dufreigne: Michel Robin
Axel: Mathieu Simonet
Running time -- 99 minutes
No MPAA Rating...
Isabelle Huppert happens to make a killer hot cocoa (perhaps literally) in Claude Chabrol's elegantly perverse "Nightcap" ("Merci Pour Le Chocolat").
Based loosely on a novel by the late American mystery writer Charlotte Armstrong, this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short.
A presentation of this year's City of Lights, City of Angels festival of fresh French cinema taking place at the DGA headquarters, Chabrol's 52nd film finds the French Hitchcock in fine if not quite vintage form and certainly deserving of American exposure beyond a single screening.
Huppert, who has collaborated with the filmmaker on a number of occasions, is fascinating to watch as the quietly calculating Marie-Claire, the newly married second wife of concert pianist Andre Polonski (Jacques Dutronc) and CEO of a large Swiss chocolate manufacturer inherited from her father.
Marie-Claire likes her spotless household to run like a Swiss watch, but there's a telltale crack in the sun-filtered austerity -- one which grows ominously deeper with the arrival of an uninvited guest.
It seems that due to a maternity ward mix-up, Polonski's languid son, Guillaume (Rodolphe Pauly) and the daughter of another couple were ascribed to the wrong parents long ago. The initial confusion was soon cleared up, or was it?
Tickled by the notion that she might really be the daughter of an accomplished virtuoso, young Jeanne Pollet (Anna Mouglalis), herself a budding pianist, shows up on the Polonski doorstep one day to find out the truth, and, in the process, uncovers substantially more than she anticipated.
For instance, could Marie-Claire be keeping her husband and stepson perpetually doped up on daily servings of Rohypnol-laced hot cocoa? Was the death of Guillaume's mother really a suicide?
Thanks to Chabrol's meticulously crafted direction, the answers are spun out at a neatly unhurried but never less than intriguing pace.
He also pulls a subtle yet palpable menace out of Huppert, whose performances have been known to verge on the catatonic if allowed to go unchecked. It's one of her most satisfying turns in years, and one which was rewarded with a best actress prize at this year's Lumieres de Paris Awards.
It's too bad that the script, by Chabrol and Caroline Eliacheff, doesn't provide a more potent payoff. After all that delicious build-up, one was expecting a nightcap that packed a greater kick.
Still, the picture, along with Dominik Moll's soon-to-be-released "With a Friend Like Harry", successfully evoke some unmistakably Hitchcockian mischief-making without resorting to the usual lazy mimicry.
NIGHTCAP ("Merci Pour Le Chocolat")
MK2 Prods.
Director: Claude Chabrol
Screenwriters: Caroline Eliacheff & Claude Chabrol
Based on "The Chocolate Cobweb" by Charlotte Armstrong
Producer: Marin Karmitz
Executive producer: Jean-Louis Porchet
Director of photography: Renato Berta
Editor: Monique Fardouli
Costume designer: Elisabeth Tavernier
Music: Matthieu Chabrol
Color/stereo
Cast:
Marie-Claire Muller-Polonski: Isabelle Huppert
Andre Polonski: Jacques Dutronc
Jeanne Pollet: Anna Mouglalis
Guillaume Polonski: Rodolphe Pauly
Louise Pollet: Brigitte Catillon
Dufreigne: Michel Robin
Axel: Mathieu Simonet
Running time -- 99 minutes
No MPAA Rating...
- 4/19/2001
- The Hollywood Reporter - Movie News
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