Emile Pulska is visiting his old friend Abe Stillman. During the visit they are attacked and Emile is struck senseless. When he wakes up he is told that Abe is dead, dead by natural causes,... See full summary »
Edward G. Robinson,
John Blandish is worth $100 million. His heiress daughter is soon to be wed to Foster Harvey, who believes she's a cold, unfeeling woman, despite loving her. Her cold emotional state is in ... See full summary »
St. John Legh Clowes
Jack La Rue,
The most dangerous criminals in the universe escape from the Off-World Penitentiary and stow away to the quiet Moonbase Waste Disposal Plant. Hidden beneath the lunar surface lies an ... See full summary »
Elvira is travelling through the French countryside with her friend Genevieve, searching for the lost tomb of a medieval murderess and possible vampire, Countess Wandessa. They find a ... See full summary »
Mario (Tognazzi), a rich and eccentric war hero befriends Marco (Dewaere), a loner with a sailboat and takes him home to meet his estranged wife Cleofe (Lia Tanzi Gabriella) and sexually ... See full summary »
A group of four policemen is known for cruising the streets of Stockholm in their van, looking for drunks or criminals they can beat up with their batons. Lately witnesses saw them pick up ... See full summary »
This dreary Cold War adventure with tongue-in-cheek results in a misfire, despite interesting credentials: novel author James Hadley Chase (I hadn't quite realized just how many of his work has been adapted for the screen, particularly from the 50s through the 70s, albeit mostly French-made programmers such as this one), screenwriter Marc Behm (The Beatles' HELP! ), director Gessner (THE LITTLE GIRL WHO LIVES DOWN THE LANE ), composer Francois de Roubaix (LE SAMOURAI , DAUGHTERS OF DARKNESS ), cast (a couple of lovely Godard alumni Mireille Darc and Giorgia Moll, Bunuel regular Claudio Brook here making an unsuitable leading man and, of course, Edward G. Robinson who's wasted). While occasionally sexy and featuring colorful locations, it's neither very thrilling nor very funny though being, mercifully, short enough to be palatable.
The only other film of Gessner's that I've watched is the similarly international though superior 12+1 (1969) based on the same source material as Mel Brooks' THE TWELVE CHAIRS (1970) and for which an equally eclectic cast had been assembled, including Sharon Tate (in her last role) and Orson Welles.
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