Seven directors each dramatize one of the seven deadly sins in a short film. In "Anger," a domestic argument over a fly in the Sunday soup escalates into nuclear war. In "Sloth," a movie ... 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 »
"This European "western" by Robert Hossein (scripter, director, and lead) is set in an unnamed Latin American country suffering under a dictator. A revolution is underway, or at least there... See full summary »
Summer, 1943: wealthy youth in the Riccione district of Rimini play while the war gets closer. Carlo Caremoli, a young man who follows the crowd, has found ways to avoid military service. ... See full summary »
A dozen of elegant people are gathered in a writer's desirable mansion . They all have got a secret to conceal .They begin a cruel game of truth ,a game in which you are not supposed to tell lies.As the questions become more and more intimate and precise,the tempers rise ,while outside the storm is raging.Enter a hateful person who seems to know a lot about them.He's murdered.Who did it? Written by
A group of bored, upper-crust malcontents who don't like each other much gather in a rococo mansion on a stormy night to await the arrival of a universally hated peer who says he knows a secret about one of them that's worth millions. He comes and gets offed during a revealing "game of truth" but that's no guarantee the secret's safe -and, of course, whodunit?
An Agatha Christie-style "drawing room murder mystery" (literally, there's only the one set) made more interesting than it has any right to be by avant-garde mise-en-scène created entirely by character placement and a jazzy score (courtesy of Hossein's dad, Andre) that provides dramatic punctuation. The cast (director Hossein, Jean Servais, Jean- Louis Trintignant for the men and Nadia Gray, Françoise Prévost, Daliah Lavi for the ladies, among others) is impressive and without them it'd be well nigh interminable but I still found it overly convoluted and a bit claustrophobic. It's very talky, too, but, reely, what else can it do? I much preferred the confined spaces of Luis Buñuel's later EXTERMINATING ANGEL and Julien Duvivier's earlier MARIE-OCTOBRE but my favorite is still WHO'S AFRAID OF VIRGINIA WOOLF? Milage will no doubt vary.
1 of 1 people found this review helpful.
Was this review helpful to you?