5.9/10
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3 user 1 critic

To Commit a Murder (1967)

Peau d'espion (original title)
Charles Beaulieu, who served as an Army officer during the Algerian War, has become a novelist. Unfortunately for a playboy who lives in a big way like him, his books sell poorly. His need ... See full summary »

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Cast

Complete credited cast:
...
...
...
...
Maurice Garrel ...
Fabrizio Capucci ...
Gerhard Bormann ...
(as Gerhard Borman)
Peter Martin Urtel
Jean Rupert
Giuseppe Addobbati ...
Gamil Ratib ...
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Storyline

Charles Beaulieu, who served as an Army officer during the Algerian War, has become a novelist. Unfortunately for a playboy who lives in a big way like him, his books sell poorly. His need for money makes him accept an offer by Major Rhome, his former superior in Algeria, now one of the heads of the French counter-espionage agency. Charles' mission will consist in preventing the defection of laser specialist Henri Banck's defection to Red China... Written by Guy Bellinger

Plot Summary | Add Synopsis

Taglines:

Women can wind him up. Money can lure him out. But it's the scent of the kill that turns him on.

Genres:

Thriller | Drama

Certificate:

M | See all certifications »
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Details

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Language:

Release Date:

7 April 1967 (France)  »

Also Known As:

To Commit a Murder  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Trivia

West German censorship visa delivered on 12-1-1968. See more »

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User Reviews

 
Dull vehicle for two charismatic stars
17 April 2010 | by See all my reviews

On paper, a Louis Jourdan - Senta Berger pairing in a spy thriller about a down-on-his-luck gambler / novelist who becomes a pawn in a plot concerning the defection of a French scientist to the Red China looks like an idea that can't miss. And yet it does miss, as "To Commit A Murder" is so dull during its first half that I was nearly tempted to shut it off midway through. Of course I never actually do that, and in the second half the story does start coming together, plus there is a pretty gritty knife fight as well. The dialogue sometimes aims for profundity and occasionally hits the target (I liked the conversation about how it was better being an artist during the Renaissance, but a scientist during the 20th century), Jourdan has his expected moments of sophistication and Berger is just flawlessly beautiful, but none of that can fully compensate for the feeling of purposelessness that the first half of the movie suffers from. Some pretty jarring cuts on my print, too. ** out of 4.


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