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10:30 P.M. Summer (1966)

Not Rated | | Drama | 3 February 1967 (France)
Restless married couple Maria and Paul take a road trip through Spain with their friend Claire. While Paul and Claire carry on a clandestine affair, Maria becomes obsessed with a recent ... See full summary »

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(novel), (screenplay) | 1 more credit »
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Cast

Cast overview:
...
Maria
...
...
Paul
...
Rodrigo Palestra
Isabel María Pérez ...
Judith
Juan Estelrich
Beatriz Savón ...
Rodrigo's Wife
El Tupe ...
(as Tupe)
Cuatro
...
Hotel Manager
Rafael
Luis Rivera
Tereza
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Storyline

Restless married couple Maria and Paul take a road trip through Spain with their friend Claire. While Paul and Claire carry on a clandestine affair, Maria becomes obsessed with a recent murder in a small town along the way. What begins as a vacation ends as a meditation on tragedy and infidelity in screenwriter Marguerite Duras's adaptation of her novella, directed by Jules Dassin. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Claire's body - I never looked at her naked without seeing her with Paul

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

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Release Date:

3 February 1967 (France)  »

Also Known As:

Verano a las 10:30  »

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Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Joseph Losey was originally announced as director. See more »

Connections

Version of Half Past Ten (2008) See more »

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User Reviews

 
Filming the Invisible
8 December 2007 | by (United Kingdom) – See all my reviews

I remember when this film opened in London in 1967. It opened simultaneously with 'Accident' by Joe Losey, and 'Accident' eclipsed this one, as they were considered too similar: mysterious, conveying ineffable unspoken currents between people, a pervasive air of unreality and aetherial suggestiveness of things that could not quite be seen. Of the two, this was the more difficult to describe and comprehend. So 'Accident' ran for a long time, while this closed in a week. It is only now that this neglected masterpiece, doubtless buried for decades because it was 'a commercial failure', has reappeared and I have been able to see it again. The colour has not faded and is as fresh as when it was first released. Jules Dassin surpassed himself with this masterpiece. It is his greatest work. Of course, it all relies heavily upon the genius of his wife, Melina Mercouri. It is the most subtle and understated, and hence probably the most powerful, of all her overwhelmingly brilliant performances. Mercouri was more than just a genius, she was a demented and Dionysiac genius, a genuine Greek maenad, a barefoot raver on the heights of Parnassus, in the best traditions of her culture. She is here well matched by Peter Finch at the top of his form, two years after he did 'The Pumpkin Eater' and 'Girl with Green Eyes', in both of which he had proved he was one of the leading film actors of his generation. Now in this intense film together, they speak the unspoken thoughts of a highly complex marriage and of emotional ties where two people have grown together at the root: but will the root snap? The beautiful and alluring Romy Schneider is part of a strange trio on a journey in Spain, where passion crackles in the air, and the flamenco hands clap, as a murderer aged only 19 comes into the story. I read the original novella by Marguerite Duras and thought it was poorly written and, although evocative, far from being a superior work. But it provided the atmosphere Dassin and Mercouri were looking for, a hothouse of semi-articulate and complex emotions, of raging currents of suppressed passions, a crisis of existential doubts, a veritable torrent or electrical storm, to match the real storm which lashes the stranded travellers in the film. Rarely has the invisible been filmed so successfully. This film was not really filmed in Spain, it was filmed in the ionosphere, and what appear to be buildings and people are really plasmas of charged particles. Dassin rose above reality, to film what lies behind it. These things are sometimes thought and felt, they are never seen. But here he reveals them to the eye, like a cloud parting. This is not mere cinema, it is something higher.


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