6.2/10
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Flesh and the Woman (1954)

Le grand jeu (original title)
Pierre Martel is a brilliant lawyer in Paris who has fallen in love with a ravishing Italian girl, Sylvia Sorrego and they take up housekeeping on a luxurious scale beyond his means, and ... See full summary »

Director:

Robert Siodmak

Writers:

Jacques Feyder (story "Le Grand Jeu"), Charles Spaak (adaptation) | 1 more credit »
Reviews
1 nomination. See more awards »

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Cast

Credited cast:
Gina Lollobrigida ... Sylvia Sorrego / Helena Ricci
Jean-Claude Pascal ... Pierre Martel
Arletty ... Blanche
Raymond Pellegrin ... Mario
Peter van Eyck ... Fred
Jean Témerson Jean Témerson ... Xavier Noblet
Jean Hébey Jean Hébey ... Le commissaire de police
Rest of cast listed alphabetically:
Paul Amiot Paul Amiot ... Le capitaine
Odette Barencey Odette Barencey ... Gertrude
Charles Bayard Charles Bayard
Gérard Buhr ... Un légionnaire
Jo Dest Jo Dest ... Karl - le patron du bistrot
Leila Farida Leila Farida ... Aïcha
Gabrielle Fontan Gabrielle Fontan ... La religieuse
Lila Kedrova ... Rose
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Storyline

Pierre Martel is a brilliant lawyer in Paris who has fallen in love with a ravishing Italian girl, Sylvia Sorrego and they take up housekeeping on a luxurious scale beyond his means, and Pierre commits a few irregularities and is asked to resign the Bar Association. He heads for Algeria and tells Sylvia to sell everything they own and join him there. Sylvia is a no-show and Pierre, broke, with a dishonored name and having lost the woman he loves, dons the hair-shirt he wears the rest of the film and becomes a human wreck, and he joins the Foreign Legion. Pierre and his friends Mario and Fred engage in a bit of globe-hopping warfare for the next four years and are sent back to the camp in Algeria. There, they discover a house/castle near the camp called "The Last Stop" run by Madame Blanche, who spends most of her time reading playing cards. When she isn't reading cards, Madame Blanche runs a few prostitutes on the side and arranges for three ladies of the evening to spend a night in ... Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Taglines:

A Pampered Pet of Parisian luxury...temptress for hire in the slums of Algeria See more »

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

France | Italy

Language:

French

Release Date:

June 1958 (USA) See more »

Also Known As:

Flesh and the Woman See more »

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Box Office

Budget:

$450,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Rizzoli Film,Spéva Films See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Connections

Remake of Le grand jeu (1934) See more »

Soundtracks

Chopsticks
(uncredited)
Music by Euphemia Allen
See more »

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User Reviews

 
FLESH AND THE WOMAN (Robert Siodmak, 1954) **1/2
26 March 2008 | by MARIO GAUCISee all my reviews

Not really epic material, this is a fated romantic drama (a typically French quality) set against the exotic background of the Foreign Legion – and, actually, a remake of Jacques Feyder's 1934 film LE GRAND JEU (also this version's original title).

The plot involves a successful young lawyer (Jean-Claude Pascal) who, due to a shady deal, finds himself penniless and separated from his wife (Gina Lollobrigida). Stranded in Algeria, he's persuaded to join the Foreign Legion – where he befriends a couple of similar losers (played by Raymond Pellegrin and Peter van Eyck). All three lodge in the tavern run by an ageing fortune-teller (Arletty) and occasionally go out in search of a good time with the local girls…eventually meeting up with one who's a dead-ringer for Lollobrigida! Soon, the buddies fall out over her (and one of them even winds up dead, an event which Arletty had actually predicted!) – though the girl, naturally, is drawn to the hero (even if her sweet-natured character differs from that of his materialistic wife). At the end, Pascal does run into the latter and discovers that they have nothing more in common – which, therefore, gives him free rein to start life over with his new-found love.

This was one of the first international efforts Siodmak made following his spell in Hollywood (to which he returned sporadically thereafter). Consequently, while his best work may have been behind him, the director manages to lend a reasonable amount of style to the melodramatic (even unlikely) proceedings. That said, the wretched print I watched didn't do the film any favors – being not only muddy and exceedingly scratched, but was besides distressingly plagued by any number of missing frames!


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