The son of a French industrialist, Clément is a right wing extremist who belongs to a secret militant right wing organization that uses whatever means necessary, including violence, to ... See full summary »
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Roger Van Hool
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The son of a French industrialist, Clément is a right wing extremist who belongs to a secret militant right wing organization that uses whatever means necessary, including violence, to achieve its goals. His wife Anne, a former German actress who gave up her career to be the doting wife, knows somewhat of his extremist views, and suspects he would indeed kill if need be as witnessed by what she finds hidden in their house. He often treats her poorly, especially out in public as she maintains the façade of her former celebrity, which he believes is her acting like a whore. Regardless, she is compelled to stay in the marriage. After he and a right wing colleague assassinate a Communist figure, that assassination which goes slightly awry, Clément and Anne hide out in the country home of Clément's childhood friend, Paul, who knows nothing about Clément's extremist views. Paul is a democrat and pacifist. Clément is forced to leave to pursue a mission, leaving Anne behind. Without Clément, ... Written by
Louis Malle produced the film as a criticism of Jean-Luc Godard and other then-right wing nouvelle vague directors and their support for the French occupation of Algeria and for the OAS and their campaign of terrorism and assassination in mainland France. See more »
Despite the rapturous critical reception for its belated US premiere some five decades after it was made, La Combat Dans L'Ile/Fire and Ice is a distinctly minor nouvelle vague political thriller from Alan Cavalier, who became overshadowed by his collaborators on this film, Louis Malle and Jean-Paul Rappeneau (Malle produced the film as a criticism of Jean-Luc Godard and other then-right wing nouvelle vague directors and their support for the French occupation of Algeria and for the OAS and their campaign of terrorism and assassination in mainland France). It's an okay romantic triangle of sorts, with Romy Schneider transferring her affections from Jean-Louis Trintignant's spoiled right wing terrorist to Henri Serre's left-wing printer, leading to a rather silly duel.
It's dated better than most Nouvelle Vague films of its day, but still has the mixture of shallow content and unconvincing storytelling that is less import than the style of filmmaking.
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