Jenny Lamour wants to succeed in music hall. Her husband and accompanist is Maurice Martineau, a nice but jealous man. When he knew Jenny is making eyes at Brignon, an old businessman, in ... See full summary »
A psychiatrist, desperate for money to keep his faltering practice running, makes a deal with a spy to hide a mysterious person in his clinic in return for a million francs. As soon as the ... See full summary »
Dominique Marceau is on trial for the murder of Gilbert Tellier. The counsels duel relentlessly, elaborating explanations for why the pretty, idle and fickle girl killed the talented and ... See full summary »
An adaptation of Abbe Prevost's classic French novel 'Manon Lescaut', updated to post-World War II France, in which a former French Resistance activist rescues Manon from villagers who want... See full summary »
In 1900, Miquette, the pretty daughter of the widow Grandier, decides to become an actress after seeing a play performed by the Monchablon theatre company. Unfortunately, Madame Grandier ... See full summary »
Stanislas Hassler blazes the development of modern art in his gallery, packed with works of surprising shapes, colours and textures, and where exhibitions turn into media events. Gilbert ... See full summary »
A vicious series of poison-pen letters spreads rumours, suspicion and fear among the inhabitants of a small French town, and one after another, they turn on each other as their hidden secrets are unveiled - but the one secret that no-one can uncover is the identity of the letters' author... Written by
Michael Brooke <email@example.com>
In the real story, the letters were signed "The Eye of the Tiger" and not "The Raven". The director chose the latter signature after the description of the accused made by a journalist during the 1922 trial: "She looks like a small bird who folded its wings." Interestingly after this movie the word "raven" stayed in the French language ("corbeau") to designate someone who sends anonymous letters. It is a very rare example of a movie expression influencing language. See more »
Although I pride myself on my knowledge of fine films, I must admit with a trace of embarrassment that I had never heard of this film before yesterday, when a brief blurb on the Turner Classic Movies schedule prompted me to watch it. My principal motivation for watching it was that it was directed by Clouzot, whose "Diabolique" and "Wages of Fear" are favorites of mine. What a find! While not quite the equal of "Diabolique," it comes very close, and it is the equal of anything by Hitchcock. Viewed simply as a thriller, it is marvelous, but it is much more than that. It is a profound character study and a howl of rage at the small-mindedness and pettiness of small town bourgeois communities. Considering that it was made during the German occupation, it can also be viewed as about as scathing a critique of Gestapo methods as a director could be expected to make without risking his life.
After I saw "The Sorrow and The Pity" in 1971, I held the belief that any French artist who continued to work during the occupation was a legitimate target for criticism. Since then I have moderated this view somewhat. After all, who among us can honestly say what we would do in a similar situation? While there is no excuse for collaboration, can an artist be criticized for staying in his country and making a protest in the only way he can? I think that is what Clouzot did here, and the result is a masterwork. I only wish this were more widely known and publicized. 10/10
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