Cecile, decadent young girl who lives with her rich playboy father Raymond. When Anne, Raymond's old love interest, comes to Raymond's villa, Cecile is afraid for her way of life.
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Director:
Milos Forman
Stars:
Michael Berryman,
Peter Brocco,
Louise Fletcher
Cecile, decadent young girl who lives with her rich playboy father Raymond. When Anne, Raymond's old love interest, comes to Raymond's villa, Cecile is afraid for her way of life. Written by
Dragan Antulov <dragan.antulov@altbbs.fido.hr>
We hear the Band at c.6'50" and we see a clarinet-player performing, but the music has no clarinet part whatsoever included at that point in the soundtrack. Later, when the clarinet does eventually join the soundtrack, the fingering of the player bears absolutely no relation to the music actually being heard. See more »
Quotes
Cecile:
Albertine! I mean Léontine! Slight maid problem. Some weird sisters rotate working for us.
Anne Larson:
Weird? How?
Cecile:
Every week one or the other is suddenly stricken with some odd malady. Maybe it's us.
Maid:
Yes, Mademoiselle?
Cecile:
Oh! Léontine...
Maid:
Léontine has a bad liver. I am her sister, Claudine.
See more »
I'll never forget seeing a pristine print of this magnificently shot (entirely on location in the French Riviera) Preminger classic on the huge screen of the Egyptian theater in Hollywood (I refuse to watch the cut-up video version currently available), and let me tell you, there is no more poetic or romantic film in existence. Forget the silly, soap-opera pretext of a Francoise Sagan plot, just sit back and let the 'real' story, the visual poetry drift over you and take you away. Now, I'm not saying this because I'm in love with both Jean Seberg and Deborah Kerr (how can you not be, the way they look on the screen here), but because this is the quintessential Otto Preminger film, where he takes the trashiest of romance novels and proceeds to make a case study demonstration of how irrelevant 'standard' plot devices can be in the cinema by making a visual masterpiece out of it.
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I'll never forget seeing a pristine print of this magnificently shot (entirely on location in the French Riviera) Preminger classic on the huge screen of the Egyptian theater in Hollywood (I refuse to watch the cut-up video version currently available), and let me tell you, there is no more poetic or romantic film in existence. Forget the silly, soap-opera pretext of a Francoise Sagan plot, just sit back and let the 'real' story, the visual poetry drift over you and take you away. Now, I'm not saying this because I'm in love with both Jean Seberg and Deborah Kerr (how can you not be, the way they look on the screen here), but because this is the quintessential Otto Preminger film, where he takes the trashiest of romance novels and proceeds to make a case study demonstration of how irrelevant 'standard' plot devices can be in the cinema by making a visual masterpiece out of it.