Young Queen Margot finds herself trapped in an arranged marriage amidst a religious war between Catholics and Protestants. She hopes to escape with a new lover, but finds herself imprisoned by her powerful and ruthless family.
Oslo, April 19th 1945, as the Third Reich is living its last days, a group of Nazis and sympathizers (a Wehrmacht general; an SS commander and his "assistant"; an Italian industrialist and ... See full summary »
In a French village, Manou is an Italian logger, virile, with a broad laugh. He can't say no to women's sexual invitations, and jealous villagers blame him for recent fires and a flood. He ... See full summary »
Juliette Merteuil and Valmont is a sophisticated couple, always looking for fun and excitement. Both have sexual affairs with others and share their experiences with one another. But there ... See full summary »
The comparison, here, is unavoidable. This is the first version, dated 1954, with a fine cast led by Jeanne Moreau in her very beginnings, a competent mise-en-scène (Jean Dréville), a fine score (as usual) by Paul Misraki, a fine Eastmancolor photography by Henri Alekan and, last but not least, a script by silent-screen pioneer, Abel Gance, the celebrated author of Napoléon. Now, what could we say of the so-called remake 40 years later? Hardly anything to do with Dumas Père or, for that matter, good cinema. most surely the writer would be as horrified as I was with such self-boosting display of an ego trip by Monsieur Chéreau, a kind of sub-Peter Brook theatrical régisseur in France. Nota Bene that the St. Bartholomew's Day massacre was NOT re-enacted in this Gance/Dréville version, which definitely turns it into a more subtle, although MUCH more sarcastic, even cruder picture than its ill-timed successor.
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