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Le couteau dans la plaie (1962)

Approved | | Crime, Drama | 12 December 1962 (France)
Lisa Macklin, an Italian woman, has a fight with her American husband Robert in a Paris night club. He leaves the next day for a business trip and Lisa says she does not want to see him ... See full summary »

Director:

Anatole Litvak

Writers:

André Versini (idea), Peter Viertel (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
Sophia Loren ... Lisa Macklin
Anthony Perkins ... Robert Macklin
Gig Young ... David Barnes
Jean-Pierre Aumont ... Alan Stewart
Yolande Turner ... Barbara Ford (as Yolande Finch)
Tommy Norden Tommy Norden ... Johnny
Mathilde Casadesus Mathilde Casadesus ... Mme. Duval, Concierge
Billy Kearns Billy Kearns ... Capt. Wade
Barbara Nicot Barbara Nicot ... Regine
Louis Falavigna Louis Falavigna ... Pharmacist
Elina Labourdette ... Mme. Lafont
Régine ... Mrs. Wade
Pascale Roberts ... Streetwalker
Sophie Réal Sophie Réal ... Housemaid
Jean Ozenne Jean Ozenne ... Monsieur Babasse
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Storyline

Lisa Macklin, an Italian woman, has a fight with her American husband Robert in a Paris night club. He leaves the next day for a business trip and Lisa says she does not want to see him again. She is with newspaperman Alan Stewart that evening when she learns Robert's plane has crashed with no survivors. Waking from sedation after the funeral, Lisa finds Robert in their flat, injured but alive. He was thrown clear of the crash by a lucky twist of fate. He now plans to collect the $120,000 insurance he took out at the airport. Once Lisa collects the money and turns it over to him, she will finally be rid of him. She attempts to get advice from Stewart, but he has been replaced by David Barnes. Lisa's life becomes a tortuous ordeal, at work, at home, faced with a fugitive husband and a growing love for David, who suspects everything. Finally her nightmare concludes when she finally gets the check and meets Robert. As they drive to the Belgian border, he reveals he never intended giving ... Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

A motion picture that touches the trigger of violence in all of us! See more »

Genres:

Crime | Drama

Certificate:

Approved | See all certifications »
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Details

Country:

France | Italy

Language:

English

Release Date:

12 December 1962 (France) See more »

Also Known As:

La troisième dimension See more »

Filming Locations:

Paris, France

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono (Westrex System)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The picture on the bedroom wall in Lisa and Bob's apartment is a print of a painting by Henri Rousseau, called "The Sleeping Gypsy," painted in 1897. It is a fantastical depiction of a lion musing over a sleeping woman on a moonlit night. See more »

Goofs

After Johnny (the little boy) enters Robert Macklin's house through a front window, Macklin asks him where Johnny's dad is. Johnny answers "At the office. He came home early yesterday, but mostly I'm alone." The camera angle changes at "but mostly I'm alone" from front to left side. You can see that Johnny's mouth is not moving when he says "but mostly I'm alone." See more »

Quotes

Barbara Ford: I've given up eating. It's soooo old fashioned.
See more »

Connections

Featured in Hollywood: The Great Stars (1963) See more »

Soundtracks

Suprise Blues
Composed by Jacques Loussier
Performed by Mikis Theodorakis And His Orchestra
See more »

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User Reviews

 
Decent Sub Hitchcock Fun
10 June 2015 | by seveb-25179See all my reviews

I hadn't bothered watching this before because of the negative reviews it always seems to get, but I love Sophia and she made so few decent movies in the genre's I like to watch, that I finally gave it a go, and I was pleasantly surprised I found this to be a very enjoyable sub Hitchcock vehicle Anthony Perkins is very effective as the wheedling, manipulative man child that is his trademark and Gig Young is effectively ambiguous as the smarmy, stranger, who may turn out be an ally or an enemy The movie teases you with possibilities for violence or revelation that come to nothing, so that when something does happen it is all the more of a surprise (Which is considered slow and old fashioned these days, but was par for the course back then) Black and white suits the ambiance that they producers are aiming for, the veneer of French avant guard for a film that aspires to be more than it is, however what it is, is still fine by me PS; - Those who strangely expected Sophia to take her clothes off at some point obviously don't know her very well, as apart from, and perhaps because of, her experiences in her very early days in the movie business, she never does more than undo a couple of top buttons, as she does here


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