A film by Henri Verneuil.
Cast: Jean Gabin, Jean-Paul Belmondo, Suzanne Flon.
English title: A monkey in the winter.
Albert (Jean Gabin) is an inn owner who vowed never to drink again if he and his wife survived the war. They did and guess what he now does not drink. But never say never. But times have changed and soon after the war, Albert comes in contact with Gabriel, a young man who is in love with his the bottle. Gabriel wants to retrieve his daughter who is in a school with sisters. Suddenly Albert has enough and goes on a binge with the young man and what happens happens .
I heard it trough the grape wine that Jean Gabin was not too crazy be cause he came from the new wave cinema and was not crazy about doing the film with Belmondo but later on they became good friends and it shows in this movie. This film as a sense of poetry. It’s a movie about friendship, dreams, nostalgia, sadness between two men from different generations. It is also a film about 2 men who drowns their problems in a bat tom of a bottle. Gabin and Belmondo gives a very warm performance. The dialog is from Michel Audiard, you can’t go wrong with that. Now I love these old film because you get to see this little town in Normandie I have been there and he does bring memories. In those little town everybody knew each other inviting each other to their house there were an ambience that you do not find those days. See back in the day the hotels were own by families man an wife were running the hotel their kids if they had any were helping out. You don’t see that anymore. Great film from Henry Verneuil.
A film by Henry Verneuil.
Cast: Jean-Paul Belmondo, Bernard Blier, Marie-France Pisier.
François (jean-Paul Belmondo) always hated The textile industry but he fell in love with the daughter with the family heiress Gilberte. 10 years ago he would marry her but François is accused of murder. He thinks the mob set him up. He goes to jail for 7 years. When he gets out He goes sees his friends to see find out who framed him the list goes all the way to the top.
Verneuil uses the technique of a frame narrative In film which work well. Much of the film takes place inside Belmondo’s head, both in lengthy voice-over sequences and flashbacks. François who owned a night club is now accused of murder of a soccer player and a stripper. The script was seasoned with the words choc (at the time) from Michel Audiard. To my taste a little too much politics in the film but it works for now. some great talents in this film no doubt.
A film by Claude Lelouche.
Cast: Jean-Paul Belmondo, Richard Anconina.
Sam Lion (Jean-Paul Belmondo) was raised in the circus, Sam Lion becomes a businessman after a trapeze accident. However, when he reaches fifty and becomes tired of his responsibilities and of his son Jean-Philippe, he decides to disappear at sea. However, he runs into Albert Duvivier, one of his former employees. He comes to realise that he has ignored the important things in his life. I do not want to reveal too much in this film but here is a fabulous, awesome photography, Great music, and a good script. They do not make those any more. A nice performance By Belmondo. It is something that we all want to do but don’t do for various reasons. Like Claude Lelouche said in an interview I live through my film heros. If you can find it in the states see it.
A film by Jean-Luc Goddard.
Cast: Anna Karina, Jean-Claude Brialy, Jean-Paul Belmondo.
The movie stars Godard’s wife, Anna Karina, who was to achieve her own greatness in his next film. She wants to have a baby and when her boyfriend comes homes she drop the bomb shell on him. Angela Recamier is her name, and Jean-Claude Brialy plays Emile Recamier, but the movie strongly suggests they are not married. Nor does Emile want a baby, although his friend Alfred Lubitsch (Jean-Paul Belmondo) would be happy to impregnate her and so would I. The movie, which comes advertised as Godard’s tribute to the Hollywood musical, is not a musical, and indeed treats music with some contempt, filling the sound track with brief bursts of music that resemble traditional movie scoring, but then interrupting them arbitrarily. Angela is shown a photograph that Alfred claims shows Emile cheating on her with another woman. As she studies the photo, the movie cuts from her face to his face to the photo, and then again and again. Sometimes there is a little dialogue. The photo keeps reappearing on the screen. The effect is to suggest the way she becomes obsessed with the hurtful image and can’t stop thinking about it, and as a visual evocation of jealousy, it’s kind of brilliant. The movie is bright and lively and Goddard went on to make better one. As he goes along in his career he got better and better, Thank god for this. I like this one.
A film by Jean Luc Goddard.
Cast: Jean-Paul Belmondo, Anna Karina, Graziella Galvani.
Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.
There is not too many people who likes Goddard’s film because they make no sense. But there is also a lot of people who will like this one. Pierrot le Fou was made in 1966 but only released in the United States in 1969. It seems to be a gangster picture: Jean-Paul Belmondo leaves his wife and goes to live with his former girlfriend, Anna Karina. She has apparently killed a man. They go on the lam in a stolen car, wind up on a deserted island, play the Robinson Crusoe bit for awhile, and then go back to the mainland to face the music. But Godard never sticks closely enough to this plot to make it important. He will have a scene that is perfectly conventional, like a scene in a Hollywood gangster movie. But it doesn’t come out of anything or lead into anything. There is a scene in the movie where Belmondo wakes up in Anna Karina’s apartment. She is in the kitchen. He is in bed, smoking (a reference, if you will, to “Breathless” (1960)). The camera follows her into the bedroom and back to the kitchen. She sings a song to him. A piano supplies a modest background. It is one of the most charming musical scenes in recent movies. She continues to sing, and goes back to the kitchen. In passing, the camera notes a dead body. It is just there. Nothing is made of it, but its presence changes the tone of the scene. Godard goes into a series of three close-ups: of her, of him, of her again. These shots cannot quite be described, but watch the movement of the actors’ eyes. Instead of moving his camera, Godard moves Belmondo’s eyes so that we “see” Karina moving. And we know she is going past the body again. This is an extraordinarily complex, effective scene: Not that it means anything, but that it is something. It is a feeling, a mood. there this is a great film from Goddard. A must see.
There was before Breathless, and there was after Breathless. Jean-Luc Godard burst onto the film scene in 1960 with this jazzy, free-form, and sexy homage to the American film genres that inspired him as a writer for Cahiers du cinéma. With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young stars Jean-Paul Belmondo and Jean Seberg, Breathless helped launch the French New Wave and ensured cinema would never be the same. Michel Poiccard, an irresponsible sociopath and small-time thief, steals a car and impulsively murders the motorcycle policeman who pursues him. Now wanted by the authorities, he renews his relationship with Patricia Franchini, a hip American girl studying journalism at the Sorbonne, whom he had met in Nice a few weeks earlier. Before leaving Paris, he plans to collect a debt from an underworld acquaintance and expects her to accompany him on his planned getaway to Italy. Even with his face in the local papers and media, Poiccard seems oblivious to the dragnet that is slowly closing around him as he recklessly pursues his love of American movies and libidinous interest in the beautiful American. Despite reports to the contrary, Jean-Luc Godard did not shoot the film without a script; however, he did not have a finished script at the beginning, instead writing scenes in the morning and filming them that day. See also Pierrot le Fou. To give a more detached, spontaneous quality, Jean-Luc Godard fed the actors their lines as scenes were being filmed. Director Jean-Luc Godard couldn’t afford a dolly, so he pushed the cinematographer around in a wheelchair through many scenes of the film. He got the idea from Jean-Pierre Melville, who had used the same low-budget technique in Bob le Flambeur and Le silence de la mer. According to Jean-Pierre Melville, Godard asked him for consultation during the post-production stage because the first edit was too long for distribution. Melville suggested Godard remove all scenes that slowed down the action (his own turn as novelist Parvulesco included). But instead of excluding entire scenes, Godard cut little bits from here and there. This led to the “jump cut” technique this movie introduced. Melville declared the result to be excellent. The character of Michel Poiccard uses the name Laszlo Kovacs as an alias. It is often wrongly assumed this was an homage to the cinematographer of the same name: the film was made long before Kovacs established himself in the movie industry. It was actually a reference to the character played by Jean-Paul Belmondo in Claude Chabrol’s Leda, earlier the same year. Jean-Paul Belmondo was very surprised by the warm reception the film received. Immediately after production he was convinced it was so bad that he thought the film would never be released.
Confusion and wrong assumptions are the cause of tragedy in this stylish gangster noir by director Jean-Pierre Melville. Burglar Maurice Faugel has just finished his sentence. He murders Gilbert Vanovre, a receiver, and steals the loot of a break-in. He is also preparing a house-breaking, and his friend Silien brings him the needed equipment. But Silien is a police informer ..French director Jean-Pierre Melville, who died in 1973, has become something of a posthumous art-house sensation in the U.S. over the past decade off the new-print revivals of his film-noir classics, “Bob Le Flambeur” (1956), “Le Samurai” (1967), “Army of Shadows” (1969) and “Le Cercle Rouge” (1970). The return of the 1962 gangster classic “Les Doulos” should continue that streak. The movie is a tough, stylish, deliciously complex labyrinth of underworld double-crosses that, like most of the other Melville noirs, ultimately celebrates honor among thieves. I love this one. see it now On neflix.