Young Queen Margot finds herself trapped in an arranged marriage amidst a religious war between Catholics and Protestants. She hopes to escape with a new lover, but finds herself imprisoned by her powerful and ruthless family.
Detective Marco is assigned to investigate a murder that has occurred at an exclusive boarding school for adolescent girls. The victim is a popular, wealthy girl found strangled in her bed.... See full summary »
Biography of Camille Claudel. Sister of writer Paul Claudel, her enthusiasm impresses already-famous sculptor Auguste Rodin. He hires her as an assistant, but soon Camille begins to sculpt ... See full summary »
Simon Belin is an actor touring the provinces with his company. Although talented he has never been given the opportunity to shine on stage. It is always Bérimont, a matinée idol past his ... See full summary »
Isabelle, the daughter of multimillionaire Frank Lindstrom, chooses to marry an impoverished journalist, Jean de Charvin. Lindstrom is convinced that Jean is after the money Isabelle will ... See full summary »
Just released from prison after serving a six-month sentence, Fernand Bastia goes into hiding. He has indeed double-crossed his gang by keeping part of the product of a robbery for himself.... See full summary »
In a French village, Manou is an Italian logger, virile, with a broad laugh. He can't say no to women's sexual invitations, and jealous villagers blame him for recent fires and a flood. He ... See full summary »
Paul Rémi, the well-known theater director, was accused by his secretary, Andrieux, of having pushed his associate Bazine from a footbridge situated twelve meters above the stage. Advised ... See full summary »
The comparison, here, is unavoidable. This is the first version, dated 1954, with a fine cast led by Jeanne Moreau in her very beginnings, a competent mise-en-scène (Jean Dréville), a fine score (as usual) by Paul Misraki, a fine Eastmancolor photography by Henri Alekan and, last but not least, a script by silent-screen pioneer, Abel Gance, the celebrated author of Napoléon. Now, what could we say of the so-called remake 40 years later? Hardly anything to do with Dumas Père or, for that matter, good cinema. most surely the writer would be as horrified as I was with such self-boosting display of an ego trip by Monsieur Chéreau, a kind of sub-Peter Brook theatrical régisseur in France. Nota Bene that the St. Bartholomew's Day massacre was re-enacted in this Gance/Dréville version, a more subtle, although more sarcastic, even cruder picture than its ill-timed successor.
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