Inspector Maigret is traveling to the French countryside to visit his friend, the duchess of Saint-Fiacre. She has received a letter recently stating that she will die soon. A few days ...
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Charles (Jean Gabin), a sixtyish career criminal fresh out of jail, rejects his wife's plan for a quiet life of bourgeois respectability. He enlists a former cellmate, Francis (Alain Delon)... See full summary »
Two men, a painter and a poor guy, have to cross over Paris by night during World War II and to deliver black market meat. As they walk along dark Parisian streets, they encounter various ... See full summary »
Henri, the Man from Nantes, comes back to his country after a successful stay in the United States, where he was working for Liski, the drug dealer. With the fame of being a tough guy ... See full summary »
Lucien Bourrache, a good looking non-commissioned officer at the Spahis, is used to charm many women. He met Madeleine Courtois at Cannes. She is beautiful and lives in luxury. He lends her... See full summary »
This movie depicts the authentic story of the hunt for the dangerous criminal Emile Buisson, who escaped from prison in 1947. During three years Buisson manages to hide from detective ... See full summary »
Inspector Maigret is traveling to the French countryside to visit his friend, the duchess of Saint-Fiacre. She has received a letter recently stating that she will die soon. A few days later she does so by an heart attack, but Maigret does not believe in this...Written by
Yes, Delannoy was kicked around quite a bit by those young Cahiers critics, some of whom went on to make stodgy films themselves (if I have to watch another soporific Chabrol "thriller", I may give up movies altogether). Delannoy was a solid craftsman who gave us two blond deities in Jean Marais and Madeleine Sologne (wonderful L'Eternel retour), and the gorgeous, although sightless blue eyes of Michele Morgan in La symphonie pastorale. That picture opened up new vistas of sexuality for me.
But a craftsman can only do so much. There is a lack of focus here, the result of some bad casting. Some of the acting is atrocious: Robert Hirsch as the art expert Sabatier, one of the prime suspects, is always on the verge of hysterics. Michel Vitold as the priest gives off guilty vibes, although he hasn't done anything. Only Valentine Tessier and Michel Auclair, playing mother and son, rise to the occasion. Tessier and Gabin have a delightful scene together at the opening, talking about the old days in their little town. Auclair is especially good as the corrupt heir to a declining fortune; he looks like he stepped out of a Rococo painting.
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