Vado… l’Ammatto e Torno (1967, ITA) C-98m. Scope ** D: Enzo G. Castellari.
Starring Edd Byrnes, George Hilton, Gilbert Roland, Stefania Careddu, José
Torres, Ivano Stacciali, Sal Borgese. Slightly above-average spaghetti western,
director Castellari’s second film. Hilton
plays a bounty hunter, who may have the last word in hunt for hidden loot.
Some funny directorial touches may make it fun for fans, but plot is a drag.
English titles: ANY GUN CAN PLAY, BLOOD RIVER, FOR A FEW BULLETS MORE, GO
KILL AND COME BACK. |
Valentine (2001, USA) C-96m. Scope ** D: Jamie Blanks. Starring David
Boreanaz, Marley Shelton, Denise Richards, Katherine Heigl, Jessica Capshaw,
Daniel Cosgrove, Hedy Burress. Typical slasher movie about a madman, who
stalks four friends after sending them macabre valentine cards. A possible
suspect is the boy they rejected in Junior High School. Well-photographed,
suspenseful thriller is poorly plotted, like director Blanks’ URBAN LEGEND
(1998). Watchable for slash’n’stalk enthusiasts, but story makes very little
sense. |
Valerie a Týden Divu (1970, CZE)
C-77m. *** D: Jaromil Jires. Starring Jaroslava Schalleróva, Helena
Anýzová, Petr Kopriva, Jirí Prymek, Jan Klusák. Curio from Czechoslovakia
about a 13-year-old girl, who experiences a kind of sexual awakening when her
grandmother fails to protect her from lecherous adults (vampires?) and she
gets lost in the search for her parents. Mysterious, grotesque surreal and
experimental, much in the vein of an Alejandro Jodorowsky, the film consists
of a series of stark, oddly touching images. Difficult to access, perhaps,
but interesting as a time capsule nevertheless. Based on a novel by Vitezslav
Nezval. English title: VALERIE AND HER WEEK OF WONDERS. |
Vampire at Midnight (1988, USA)
C-93m. ** D: Gregory McKlatchy. Starring Jason Williams, Gustav Vintas,
Lesley Milne, Esther Elise. Quite interesting vampire/cop thriller about
investigator Williams, who refuses to believe that recent killings (with
victims drained of their blood) were made by a vampire. The viewer is
informed right away that hypnotist Vintas is responsible… is he a
bloodsucker? 80s horror is stylish, but you keep waiting for it to cut loose,
which it never does. |
Vampire Circus (1972, GBR)
C-87m. **½ D: Robert Young. Starring Adrienne Corri, Thorley Walters,
Anthony Corlan (=Higgins), John Moulder-Brown, Laurence Payne, Richard Owens,
Lynne Frederick, David Prowse. More vampires from Hammer, as a vampiric count
is killed by villagers but swears bloody revenge. Fifteen years later a
travelling circus arrives in town, and people start to die. Fairly good,
violent horror movie should please Hammer fans and vampire addicts, although
plot is a little unfocused. Frederick’s innocent beauty is an asset. |
Vampire in Brooklyn (1995, USA)
C-102m. ** D: Wes Craven. Starring Eddie Murphy, Angela Bassett, Allen
Payne, Kadeem Hardison, John Witherspoon, Zakes Mokae, Joanna Cassidy.
Vampire Murphy arrives in Brooklyn from the Caribbean and tries to find a
woman (Bassett) who is half-human, half-vampire. He wants to seduce her and
make her one of his kind. Solidly filmed and acted, this horror comedy is
fairly entertaining, considering such a ludicrous premise. Might have worked
better, had director Craven gone for more serious horror - or made a spoof
out of it. Wendy Robie, star of the director’s THE PEOPLE UNDER THE STAIRS
has a brief bit at the police station. |
Vampire Lovers, The (1970, GBR)
C-91m. **½ D: Roy Ward Baker. Starring Ingrid Pitt, George Cole, Kate
O’Mara, Peter Cushing, Ferdy Mayne, Douglas Wilmer, Madeline Smith, Jon
Finch. Erotic Hammer chiller about a female vampire (Pitt) who resides at a
castle and is attacking innocent girls by night. Much too talky and even
confusing at the beginning (though prologue is nice), film improves in the
final third. Well-directed, moody but uneven horror movie was followed by two
sequels, LUST FOR A VAMPIRE and TWINS OF EVIL (both 1971). Based on Sheridan
Le Fanu’s famous Carmilla. |
Vampire Nue, La (1969, FRA) C-84m.
** D: Jean Rollin. Starring Olivier Martin, Maurice Lemaitre, Caroline
Cartier, Ly Lestrong, Bernard Musson, Michel Delahaye. Bizarre vampire/sex
fantasy about rich brat Martin, who stumbles upon secret bourgeois-like
society, which conducts secret perverse ceremonies in a mansion rented by his
father. It turns out the members are protecting a female vampire from
extra-terrestrial mutants! Rollin’s second feature (following LE VIOL DE
VAMPIRE) has occasional flashes of style but drags on and on and on,
bordering on pretence due to low budget. Aka THE NUDE VAMPIRE or THE NAKED
VAMPIRE. |
Vampiri, I (1956, ITA/FRA) 78m. Scope *** D: Riccardo Freda,
Mario Bava. Starring Gianna Maria Canale, Carlo D’Angelo, Dario Michaelis. Classic, almost
legendary chiller, regarded as the first Italian gothic chiller. A reporter
and the police of Paris are after a mysterious serial killer, who drains his
victims’ blood. Is it a vampire? Marvellous atmosphere, stylish
cinematography (by Mario Bava, who completed the film) and a brilliant score
make this a treat for cineastes. American video release, titled THE DEVIL’S
COMMANDMENT, runs 72m., features several unrelated scenes and ends rather
abruptly. Original version has been released on DVD. |
Vampiros
Lesbos (1971, SPA/GER) C-89m. ** D: (Jesus) Franco Manera
(=Jess Franco). Starring Ewa Strömberg, Susann Korda (=Soledad Miranda),
Victor Feldman (=Andrés Morales), Dennis Price, Paul Muller, Jess Franco.
Dreamy vampire movie, a loose lesbian adaptation of Bram Stoker's Dracula,
which director Franco had filmed before as EL CONDE DRACULA (1970). Blonde
Strömberg (in the Jonathan Harker role) has frightening dreams of a female
vampire, then is called to a Turkish island, where lady Korda has just
inherited a castle from a certain Count Dracula. Pretty trashy, tiresome
after a while, but has some atmospheric scenes and the inimitable early 70s
period flavor. Exotic, bizarre soundtrack adds to film's mood. Alternative
titles. VAMPYROS LESBOS, LESBIAN VAMPIRES: THE HEIRESS OF DRACULA, THE
HERITAGE OF DRACULA, THE SIGN OF THE VAMPIRE, THE STRANGE ADVENTURE OF
JONATHAN HARKER, and THE VAMPIRE WOMEN. |
Vampyr (1932, FRA/GER/DAN) 73m. *** D: Carl
Theodor Dreyer. Starring Julian West (=Baron Nicolas de Gunzburg), Sybille Schmitz, Maurice Schutz,
Henriette Gerard. Remarkable early horror melodrama about young man, who’s fascinated by
the occult and wanders into a strange castle one day where a vampire is
stalking the corridors. Ground-breaking mise-en- scene uses creative
techniques to chill the audience. Plot is confusing, to be honest, but
cinéastes will find this film a treat. Based on the novel In a Glass
Darkly by J. Sheridan Le Fanu. Made in English, French and German
language versions. The German original, which premiered in May 1932 is lost.
A 73m.-long version was restored in 1998. |
Vanilla Sky (2001, USA) C-135m. ** D: Cameron Crowe.
Starring Tom Cruise, Penélope Cruz, Cameron Diaz, Kurt Russell, Jason Lee, Noah
Taylor, Timothy Spall, Tilda Swinton, Alicia Witt, Steven Spielberg. Rich
hot-shot Cruise (can he play any other guys?) has an affair with Diaz, who’s
really in love with him. When he obviously abandons her for Spanish beauty
Cruz, Diaz freaks out and kills herself in a car accident, which leaves him
disfigured. In the frame narrative, Cruise is telling his story to
psychologist Russell, who is hearing him for a murder Cruise has obviously
committed… but which? Mystery drama grows increasingly annoying, as dream and
reality merge. At its worst, film finally takes a bizarre twist, which
explains most of the going-ons but comes far too late to reconcile the viewer
with the overlong film. Director Crowe based his script on the 1997 film ABRE
LOS OJOS by Spanish wunderkind Alejandro Amenabar (TESIS). Photographed by
John Toll. |
Vanishing Act (1986, USA)
C-100m. *** D: David Greene. Starring Mike Farrell, Elliott Gould, Fred
Gwynne, Graham Jarvis, Margot Kidder, Wally MacSween, Heather Ward Siegel.
Above-average murder mystery, based on Robert Thomas’ play “Trap for a Lonely
Man”. Farrell’s wife disappears while on honeymoon in the Rocky Mountains and
he asks detective Gould of the local police for help. Soon a woman turns up,
claiming to be his wife, but Farrell insists he has never seen her before.
Rather implausible at times, but humorous and well-cast. This one lives off
its twisted ending. Made for television. |
Vanishing Point (1971, USA)
C-99m. ***
D: Richard C. Sarafian. Starring Barry Newman, Cleavon Little, Dean Jagger,
Victoria Medlin, Paul Koslo, John Amos, Rita Coolidge. Straight-forward cult
movie about former race car driver Newman, who accepts a crazy bet to drive a
1970 Dodge from Colorado to San Francisco. Slowly, after more and more police
cars are after him, his motivations become clear. Well-photographed action
drama with good chases and soundtrack is a cult film for its outlaw attitude.
Remade for TV in 1997. |
Vanity Fair (2004, GBR/USA)
C-141m. Scope **½ D: Mira
Nair. Starring Reese Witherspoon, Gabriel Byrne, Rhys Ifans, Jonathan
Rhys-Meyers, Bob Hoskins, Eileen Atkins, James Purefoy, Jim Broadbent,
Barbara Leigh-Hunt, Romola Garai. Tenth adaptation of William Thackeray’s
1847 novel about Witherspoon, who comes from a poor family and tries to find
her position in pre-Victorian England. Intrigues, affairs, fulfilled and
unfulfilled dreams are spotlighted. Lacking any dramatic punch whatsoever,
film lives off fine production values and some good performances. Well-photographed
by Declan Quinn. |
Veinards, Les (1962, FRA) 98m. **½
D: Jean Girault, Philippe de Broca, Jack Pinoteau. Starring France Anglade,
Francis Blanche, Blanchette Brunoy, Daniel Ceccaldi, Yvonne Clech, Geneviève
Cluny, Claudine Coster, Darry Cowl, Mireille Darc, Louis de Funès, Pierre
Doris, Jacques Hilling, Jean Lefebvre, Jacqueline Maillan, Pierre Mondy,
Jacqueline Monsigny, Philippe Nicaud, François Périer, Noël Roquevert, France
Rumilly, Guy Trejan. Five comic episodes about people winning in a prize-draw and the
chaotic events that ensue, which leave them unhappier than before. The first
two episodes are by Jean Girault (who also coscripted), the third by Philippe
de Broca (he cowrote with Daniel Boulanger), the fourth again by Girault, and
the last one (featuring the unique comic talents of Louis de Funès) is by
Jack Pinoteau. Vignettes are quite funny and easy to take, but only the
second (and shortest) one about a gourmand who has won a fancy dinner
in a restaurant is really good. |
Vela para el Diablo, Una (1973, SPA) C-68m. **
D: Eugenio Martín. Starring Judy Geeson, Lone Fleming, Blanca Estrada,
Charley Pineiro, Victor Alcázar. Two
shrewd, sexually starved sisters run a small pension in a tourist village.
When young Geeson comes looking for her missing sister, it turns out that the
two landladies dispose of what they think are indecent, immoral people.
Rather poorly plotted thriller becomes watchable only towards the end. Longer
version reportedly in existence, but it’s doubtful whether it’s an
improvement. English titles: A CANDLE FOR THE DEVIL, NIGHTMARE HOTEL, and IT
HAPPENED AT NIGHTMARE INN. |
Vendetta di Ercole, La (1960, ITA/FRA) C-88m.
Scope **½ D: Vittorio Cottafavi.
Starring Mark Forest, Broderick Crawford, Leonora Ruffo, Gaby André, Wandisa
Guida, Sandro Moretti, Federica Ranchi. Hercules (Forest) must do
battle with tyrant Crawford, as well as some (cardboard) monsters in the
underworld in this colorful muscleman epic. More serious and better-scripted
than later films in the ERCOLE series, this is one of the best. The effects
are very hokey, though. English title: GOLIATH AND THE DRAGON (no dragon
appears, though). |
Vendetta di Ursus, La (1961, ITA) C-88m. Scope ** D: Luigi Capuano.
Starring Samson Burke, Wandisa Guida, Livio Lorenzon, Ugo Sasso, Gina Rovere.
Okay
peplum movie about strongman Ursus, who uses his superpowers to overcome
intrigue against his favorite princess. Okay production values, slightly
better camerawork and score than usual, but mostly still just a naïve, boring
actioner. English titles: THE MIGHTY WARRIOR, THE REVENGE OF URSUS and
VENGEANCE OF URSUS. |
Venditore di Morte, Il (1971, ITA) C-96m. Scope ** D: Lorenzo Gicca Palli. Starring
John (Gianni) Garko, Klaus Kinski, Alan Collins (=Luciano Pigozzi), Gely
Genka, Giancarlo Prete. Quite unusual, but still standard spaghetti western
about gunman Garko, who tries to help Genka to convince authorities that
Kinski did not kill some people in a saloon fight. Tries to be a kind-of
whodunit, but there is no suspense. Hardly convincing, really only for fans.
English titles: LAST GUNFIGHT, THE PRICE OF DEATH. |
Venere di Ille, La (1979, ITA) C-60m. ***
D: Mario Bava, Lamberto Bava. Starring Daria Nicolodi, Marc Porel, Fausto Di
Bella, Adriana Innocenti, Fabrizio Bava. Elegant, intelligent fantasy drama
set in 19th century Italy, where a rich landowner unearths a bronze statue on
his property. The ancient Greek statue then seems to influence the events
around his son’s wedding to beautiful Nicolodi. Antique expert Porel becomes witness to the weird
going-ons. Barely seen - never released outside Italy, where it was only
shown on TV - but appropriate swan song for Mario Bava, whose last film
also marked one of his son Lamberto’s first. Beautifully poetic rendition of
a novel by Prosper Mérimée is also surprisingly cinematic, including an
excellent score by Ubaldo Continiello. A must for Bava fans. Previously
filmed in 1922 (DIE VENUS), in 1962 for theaters and 1980 for French TV (both
versions titled LA VENUS D’ILLE). English title: VENUS OF ILLE. |
Venom (1982, GBR) C-93m. **½ D: Piers Haggard.
Starring Klaus Kinski, Oliver Reed, Nicol Williamson, Sarah Miles, Sterling
Hayden, Cornelia Sharpe, Lance Holcomb, Susan George, Michael Gough. Kinski
and Reed’s kidnapping plan goes seriously awry when they find themselves
trapped in their victims’ house, with not only the police waiting outside,
but also a deadly mamba on the prowl upstairs. Not-bad thriller, quite
well-directed by veteran Haggard, but also none too clever, with standard
plotting and characterizations. Based on the novel by Alan Scholefield. Score
by Michael Kamen. |
Verano para Matar, Un (1972, SPA/FRA/ITA)
C-99m. ** D: Antonio Isasi-Isasmendi. Starring Christopher Mitchum, Karl
Malden, Olivia Hussey, Claudine Auger, Gérard Barray, Raf Vallone, Gérard
Tichy, Umberto Raho. Rather poor Euro-thriller about baby-faced Mitchum (much
too harmless), who witnessed his father’s murder when he was a child, now
returns to Spain to kill his killers. Included in his revenge plot: The
kidnapping of Hussey, daughter of a crime boss. Some action, little suspense.
Overall a disappointment despite having a cult reputation – probably because
of its English title SUMMERTIME KILLER. |
Vergina di Nuremberga, La (1963, ITA) C-84m. Scope **½ D: Anthony Dawson
(=Antonio Margheriti). Starring Rossana Podestá, George Riviere,
Christopher Lee. Who is the hooded killer that’s been abducting unsuspecting women
to his torture chamber? As in most European and particularly Italian horror
films of the period, this gothic tale of terror creates fine atmosphere and
offers good direction and photography. However, it also has a strictly
second-rate plot, which keeps the film from being a success. Horror fans
won’t be disappointed. Aka: HORROR CASTLE. |
Vergine in Famiglia, Una (1975, ITA) C-93m. **
D: Luca degli Azzeri (=Marco Siciliani). Starring Franca Gonella, Gianni Dei,
Femi Benussi, Filippo Torrieri, Carla Calo, Ricardo Garrone, Ezio Marano. Undistinguished, but
quite cute sex comedy, set in a small Italian village, where there’s secret
beauty pageants, prostitution and an invading, sex-hungry army. Not at all
bad! Nice score by Carlo Savina, who did the music for Mario Bava’s LISA AND
THE DEVIL. |
Verità Secondo Satana, La (1972, ITA) C-87m. ***
D: Renato Polselli. Starring Rita Calderoni, Isarco Ravaioli, Marie Paule
Bastin. Insane but artsy psycho horror film about suicidal Ravaioli, whose
ex-lover Calderoni agrees to pay him one more visit, during which he stages
his own murder so that she can be blamed for it. Enter a crazy neighbor who
has seen it all. A mind game between the two begins. Sleaze classic with gore
and nudity from a controversial but little-known director. His editing makes
this surreal and effective, a joy for cult movie enthusiasts. Sweeping score
by Gianfranco Di Stefano. Review is based on 48m. fragment, which presents
the core of the plot. ‘Complete’ version reportedly only adds hippie characters
and a sex orgy (with some hard-core elements). English title: THE TRUTH
ACCORDING TO SATAN. |
Versus (2000, JAP) C-119m. Scope *½ D: Riyuhei
Kitamura. Starring
Tak Sakaguchi, Hideo Sakaki, Chieko Masaka, Kenji Matsuda, Yurichiro Arai.
Japanese splatter movie about two escaped convicts, who can’t seem to get out
of the woods because there’s a portal to hell and countless zombies attacking
them. Peopled with unlikable, meaningless characters, film is totally
pointless, unless watching graphic gore is your cup of tea. Totally
uneffective due to lack of plot. If one didn’t know it better, one might
think it’s a video game adaptation. Some stylish directorial touches save it
from total disaster. A sequel to the 45m. DOWN TO HELL (1997), this is also known
as DOWN TO HELL 2, and THE ULTIMATE VERSUS. |
Vertical Limit (2000, USA)
C-124m. **½ D: Martin Campbell. Starring Chris O’Donnell, Robin Tunney,
Scott Glenn, Izabella Scorupco, Bill Paxton, Nicholas Lea. Ice and snow adventure
about a group of mountaineers who fall into a crevasse on their way up to K2.
A rescue team led by O’Donnell heads off quickly, because one of the climbers
is his estranged sister. Fast paced but predictable, an okay view. Some
audacious, rather painful stunts make it worthwhile. Filmed in New Zealand. |
Vertigo (1958, USA)
C-128m. ***½ D: Alfred Hitchcock. Starring James Stewart, Kim Novak,
Barbara Bel Geddes, Tom Helmore, Henry Jones, Ellen Corby, Raymond Bailey,
Lee Patrick. Hitchcock classic about naïve ex-cop-turned-private-eye Stewart,
whose first job concerns seductive blonde Novak, who might be cheating on her
husband – or is she slowly going insane? Stewart’s fear of heights
complicates the case… Memorable set-pieces, haunting Bernard Herrmann score,
an extravagant mystery, one of Hitch’s best (and most fervently discussed). A
must-see. Based on the novel D’Entre les Morts by Pierre Boileau and
Thomas Narcejac. Rereleased in 1997 after a forty-year absence from theaters
because of Hitchcock’s disappointment with the film’s initial reception. Filmed in VistaVision. |
Very Bad Things (1998, USA)
C-100m. **½ D: Peter Berg. Starring Christian Slater, Cameron Diaz, Jon
Favreau, Leland Orser, Jeremy Piven, Daniel Stern, Jeanne Tripplehorn, Lawrence
Pressman. Outrageous - and completely incredible - black comedy about five
buddies who go to Las Vegas for a few days to say good-bye to their friend
Favreau, who's going to be married to Diaz soon. However, during a
particularly rough night, they have murder at their hands and must deal with
a situation never before experienced. Fast-paced, amusing, violent, and
completely illogical, Berg's first film is a matter of taste. |
V
for Vendetta (2005, GBR/GER)
C-132m. Scope *** D: James McTeigue.
Starring Natalie Portman, Hugo Weaving, Stephen Rea, Stephen Fry, John Hurt,
Tim Pigott-Smith, Rupert Graves, Roger Allam, Ben Miles, Sinéad Cusack,
Natasha Wightman. Comic-book adaptation with style about masked crusader V,
who sees himself as society’s saviour after a totalitarian government is in
control of England in the near future. Lost soul Portman becomes his
companion, but it’s difficult for her to find access to the witty but
embittered avenger, who likes to be thought of as a 21st century
Guy Fawkes. Story doesn’t ring true, but plot is surprisingly intelligent,
and film is extremely well-made, from stylish direction to dynamic editing.
Also features a fine score by Dario Marianelli. Based on the comic book
series by David Lloyd, adapted by the Wachowski Brothers. |
Vicky Cristina Barcelona (2008, USA/SPA) C-96m. **½ D: Woody Allen. Starring Rebecca
Hall, Scarlett Johansson, Javier Bardem, Penelope Cruz, Kevin Dunn.
Light-weight, flaky comedy drama about two young American women, who spend a
summer in Barcelona. They are both infatuated with painter Bardem, who just
broke up with Cruz, a very passionate, jealous artist herself. A love
triangle with interesting complications is the result. Good storytelling
involves you with just the right amount of erotic innuendo, though film’s
ending is rather unsatisfactory and undermines the entire movie. Otherwise,
this is writer-director Allen in fine form. |
Victim, The (1978, HGK) C-92m.
Scope **½ D: Samo Hung.
Starring Samo Hung, Leung Kar Yan. Complex but terribly uneven eastern
concerning young fighter who finds out that his new master is fleeing from
the wrath of his brother. Goes for awkward humor but cannot be called a
comedy because there is so much serious drama and tragic happenings in the
plot! The action and the (meandering) plot in this movie will keep you posted
until the final fight, which will knock you out of your socks. |
Victor Frankenstein (1977, EIR/SWE) C-91m. *** D: Calvin Floyd.
Starring Leon Vitali, Per Oscarsson, Nicholas Clay, Stacy Dorning, Jan
Ohlsson. Atmospheric, faithful, little seen film version of Mary Shelley’s
classic gothic novel Frankenstein. Thoughtful treatment bears less
emphasis on horror but on the actual theme of Shelley’s novel, that of the
limits of science. Excellent score by Gerard Victory offsets dramatic flaws,
low-key treatment. Director Floyd also produced and scripted with his wife
Yvonne. Commonly known as TERROR OF FRANKENSTEIN. |
Victory (1995, GBR/FRA/GER)
C-99m. *** D: Mark Peploe. Starring Willem Dafoe, Sam Neill, Irène Jacob,
Rufus Sewell, Jean Yanne, Ho Yi, Bill Paterson, Irm Hermann, Simon Callow.
Beautifully filmed drama from Joseph Conrad's last novel, set in Southeast
Asia on the eve of World War One. Merchant-turned-hermite Dafoe returns to
civilization to claim some furniture left to him by his father and meets
young Frenchwoman Jacob, who is about to be sold to hotel owner Yanne. He
saves her by taking her along to his island, but when a month later seedy
'Governor' Neill arrives at Yanne's hotel, the seeds of revenge are sown.
Deliberately paced but well-filmed and rewarding for patient viewers. Written
by the director. |
Videodrome (1982, CDN/USA) C-89m.
*** D : David
Cronenberg. Starring James Woods, Sonja Smits, Deborah Harry, Peter Dvorsky,
Leslie Carson, Jack Creley. Another bizarre horror shocker by Cronenberg:
Woods plays a TV producer specializing on sex and hard core, who catches a
pirate transmission of a snuff movie and becomes obsessed with it, leading to
hallucinations and other weird stuff. What is the “Videodrome” programme
doing to his mind? Surreal, no-holds-barred horror, with (can you believe
it?) subtle allusions to the not-so-small influence media have over people.
Vague and difficult to decipher, which is exactly why this is so fascinating.
Beware: This is indeed a matter of taste! Excellent score by Howard Shore.
Good effects by Rick Baker. Writer-director Cronenberg reworked the subject
matter in a computer setting with EXISTENZ (1999). |
Vidocq (2001, FRA) C-98m. *** D: Pitof. Starring Gérard Depardieu,
Guillaume Canet, Inés Sastre, André Dussollier, Edith Scob, Dominique Zardi. French mystery
horror set in 1830 about detective Vidoqc (Depardieu), who is killed before
catching an elusive serial killer that is said to steal the souls of young
virgins. In the frame story, a reporter (Canet) tries to complete the
detective’s biography by finding the ‘monster’. Uniquely designed chiller is
well-directed and has an interesting narrative structure, which outshines the
rather conventional story. Marc Caro (DELICATESSEN) is credited as character
designer. Shot on digital video. |
Vie Amoureuse de l’Homme
Invisible, La (1971, FRA/SPA) C-89m. **½ D: Pierre Chevalier. Starring Howard Vernon,
Brigitte Carva, Fernando Sancho, Paco Valladares, Isabel de Río, Evane
Hanska. Interesting,
quite bizarre gothic horror about a doctor (Valladares), who is called to the
castle of the mysterious, much-feared professor Orloff (Vernon). It turns out
the mad scientist has created an invisible man, who is his servant. And yes,
the daughter has come back from her grave, too. Incredibly cheesy at times,
but Euro-horror/sleaze fans shouldn’t be disappointed. Good, elaborate score
by Camille and Claude Sauvage. English titles: THE INVISIBLE DEAD, DR.
ORLOFF’S INVISIBLE MONSTER, ORLOFF AGAINST THE INVISIBLE MAN, ORLOFF AND THE
INVISIBLE MAN, and LOVE LIFE OF THE INVISIBLE MAN (the literal translation). |
Vieille Qui Marchait dans la Mer,
La (1992,
FRA) C-94m. **½ D: Laurent Heynemann. Starring Jeanne Moreau, Michel
Serrault, Luc Thuillier, Géraldine Danon. Unusual, odd comedy drama about
a fraudulent old couple (Moreau and Serrault) whose relationship is disturbed
when the woman decides to take an apprentice in young hot-shot Thuillier.
Film wavers uneasily between comedy and drama, with a rather one-note plot,
but Moreau’s chilling performance as the aging Lady M. makes it worth
watching. Try comparing this with Truffaut’s JULES ET JIM. Based on a novel
by San Antonio (=Frédéric Dard). |
Vierde Man, De (1983, NED) C-104m.
***½ D: Paul Verhoeven. Starring Jeroen Krabbé, Renée Soutendijk, Thom
Hoffman, Dolf de Vries, Geert de Jong. Allegorical mystery drama about
bisexual writer Krabbé, whose new lover Soutendijk (as a classic femme
fatale) gives him a few questions to answer, especially when he finds out
that she was married three times and he may be „the fourth man“. Dazzling,
well-acted surreal parable in the guise of a thriller about a man who cannot
come to terms with his own sexuality. Based on a novel by Gérard Reve, which
is incidentally the name of the character Krabbé is playing. Stylish
photography by Jan de Bont. English title: THE FOURTH MAN. |
Vierges et Vampires (1971, FRA) C-87m. ** D: Jean Rollin. Starring Marie-Pierre
Castel, Mireille Dargent, Philippe Gasté. Another one of Rollin’s vampire
sex movies, about two escaped convicts and lesbians, who stumble into a
strange castle where vampires reside. Medium Rollin; amateurishly directed,
but nicely atmospheric, for Rollin’s fans. Written and coproduced by the
director. Alternative titles: REQUIEM FOR A VAMPIRE, CAGED VAMPIRES and
VIRGINS AND VAMPIRES (to name a few). |
Vieux Fusil, Le (1975, FRA/GER)
C-102m. *** D: Robert Enrico. Starring Philippe Noiret, Romy
Schneider, Jean Bouise, Joachim Hansen, Robert Hoffmann, Karl Michael Vogler.
Harrowing
thriller drama set towards the end of WW2: Doctor Noiret sends his wife
Schneider and their daughter to his country estate, hoping to keep them away
from the German troops in his occupied village. When he goes to visit them,
he must realize that his beloved ones have already fallen prey to them.
Embittered he goes on a rampage to kill all German soldiers. Unusual revenge
drama combines touching flashbacks detailing Noiret’s infatuation with
Schneider with shocking bursts of violence. An interesting, little-known
parable on the end of innocence and a telling comment on the end of WW2 that
also boasts charismatic star performances. Watch this one! Winner of 3 César
Awards for Best Picture, Best Actor (Noiret) and Best Score (a melancholy one
by Francois de Roubaix). Claire Dénis was assistant director. English titles:
THE OLD GUN, VENGEANCE ONE BY ONE. |
View to a Kill, A (1985, GBR)
C-131m. Scope ** D: John
Glen. Starring Roger Moore, Christopher Walken, Tanya Roberts, Grace Jones,
Patrick Macnee, Alison Doody, Desmond Llewelyn, Lois Maxwell, Dolph Lundgren,
Maud Adams. With this film, the Bond franchise lapsed into a crisis
(critically speaking). Moore’s last film as 007 pits him against villain
Walken, who intends to flood Silicon Valley and thereby control the micro
chip market all by himself. Pointless vignettes, unmotivated sex scenes and a
rather tired special agent. Some good action sequences keep it afloat.
Timothy Dalton took over from Moore to star in two 80s Bonds and was himself
replaced by Pierce Brosnan in 1995’s GOLDENEYE (the first Bond film in six
years). From A VIEW TO A KILL onwards, no Bond movie really lived up to its
predecessors. Dolph Lundgren’s first film role. |
Vigilante (1982, USA) C-89m. Scope ** D: William Lustig. Starring Robert
Forster, Fred Williamson, Richard Bright, Rutanya Alda, Don Blakely, Woody
Strode, Joe Spinell, Carol Lynley, Frank Pesce. Typical DEATH WISH clone
about family father Forster, who loses all his trust in the law, when his
wife is injured and his son is killed in a thug attack, and their leader is
sentenced to two years on probation only! He then joins Williamson’s violent
vigilante force in the streets of New York. Badly paced, one-dimensionally
plotted but technically okay. Actioner is nothing special. From the director
of MANIAC (1980), who was apprentice editor for DEATH WISH (1974).. Also
known as STREET GANG. |
Vigilante Force (1976, USA) C-89m. ** D: George Armitage.
Starring Kris Kristofferson, Jan-Michael Vincent, Victoria Principal,
Bernadette Peters, Brad Dexter, Judson Pratt, Andrew Stevens, Paul Gleason.
Rather poor but watchable actioner with Kristofferson in an unusually
unsubtle role. He plays a newly appointed town sheriff, who fights crime but
then takes over control himself. Hardly anything of interest. Written by the
director. |
Village, The (2004, USA)
C-108m. *** D: M. Night Shyamalan. Starring Bryce Dallas Howard, Joaquin
Phoenix, Adrien Brody, William Hurt, Sigourney Weaver, Brenda Gleeson, Cherry
Jones, M. Night Shyamalan. A 19th century village situated in a
secluded valley is threatened by mysterious creatures living in the woods
surrounding them. Now it seems their mutual truce has been violated… how long
will it take until the villagers are attacked? Low-key but effective chiller,
a little construed, with a somewhat disappointing revelation, but
intelligently handled and extremely well-acted (especially by the remarkable
Howard). Another Shyamalan film worth watching, though not the horror film
advertised and expected by some. Gloomy cinematography by Roger Deakins, fine
score by James Newton Howard. |
Village of the Damned (1960, GBR)
B&W-77m. *** D: Wolf Rilla. Starring George Sanders, Barbara Shelley,
Michael Gwynn, Laurence Naismith, John Phillips, Richard Vernon. After an
inexplicable black-out in the little village of Midwich, where people fell
unconscious, all the women are found to be pregnant. Did some
extra-terrestrial power impregnate them? Will the children be monsters? Right
on-target, well-directed chiller benefits from tight script by Stirling
Silliphant and Wolf Rilla, adapting the novel The Midwich Cuckoos by
John Wyndham. A small British horror classic, remade by John Carpenter in
1995. Followed by CHILDREN OF THE DAMNED. |
Village of the Damned (1995, USA)
C-98m. Scope ** D: John
Carpenter. Starring Christopher Reeve, Kirstie Alley, Linda Kozlowski,
Michael Paré, Mark Hamill, Meredith Salenger. After an inexplicable black-out
in small coastal town of Midwich, ten women discover they are suddenly
pregnant. Nine months later they give birth to strange blond boys and girls
who possess the power to control minds. Pointless, pretentious remake of the
1960 classic. Major liability: Why doesn’t anyone do anything against
these brats? A realistic setting calls for realistic, logical action.
Beautiful photography by Gary B. Kibbe only asset. Based on the novel The
Midwich Cuckoos by John Wyndham. |
Vingt-Cinquième Heure, La (1967, FRA/YUG/ITA)
C-130m. Scope *** D :
Henri Verneuil. Starring Anthony Quinn, Virna Lisi, Grégoire Aslan, Jacques
Marin, Jean Desailly, Michael Redgrave, Serge Reggiani, Wolfgang Völz. Superficial and yet
engrossing war drama about a Romanian farmer (Quinn), who is separated from
his family when WW2 breaks out and must go on an odyssey through Europe. The
meaningful encounters and adventures stand in contrast to the naïve man’s
simple nature. Not gripping throughout, but well-acted, beautifully produced
(by Carlo Ponti) and endowed with a chilling ending. Excellent score by
Georges Delerue (assisted by Maurice Jarre). Based on a novel by C. Virgil
Gheorghiu. English title: THE 25TH HOUR. |
Viol Du Vampire, Le (1967, FRA) 95m. *** D:
Jean Rollin. Starring Solange Pradel, Bernard Letrou, Pauly Ursule, Catherine Devil. A
psychoanalyst and his wife go to a château in the country, which is inhabited
by four vampire sisters. Rollin’s first feature is distinguished by good
photography and score, which manage to overcome the bizarreness of the plot
and the deliberate pacing. An atmospheric horror classic, but decidedly not
for all tastes. |
Violent Tradition (1996, CDN/HGK) C-101m.
**½ D: John Woo.
Starring Sandrine Holt, Ivan Sergei, Nicholas Lea, Robert Ho, Michael Wong,
Alan Scarfe, Jennifer Dale. Two professional thieves (Sergei and Holt),
passionately in love, turn their backs on their ‘family’, trying to rid them
of a large sum of money, but one of them (Sergei) is caught. Later, the two
meet again in Vancouver, both turned secret agents of the police. Along with
the woman’s new lover (Lea) they are assigned to wipe out a crime syndicate,
which happens to be the same one as back in Hong Kong. Action thriller is far
from being as intense or uncompromisingly violent as the director’s earlier
efforts but above-average plot is smoothly directed by Woo, who also produced
this pilot for a television series. |
Violenza in un Carcere Femminile (1982, ITA) C-98m. M D: Vincent Dawn (=Bruno
Mattei). Starring Laura Gemser, Gabriele Tinti, Maria Romano, Ursula Flores,
Francoise Perrot, Lorraine De Selle. Bland sexploitation about Gemser, who
must get by in inhumane prison, where there’s sex and violence galore. Has
all the clichés of the W.I.P. films, but it is poorly made and boring. A
later example of this subgenre, which flourished in the 1970s, and one of the
worst. The fifth movie in the EMANUELLE NERA series, following EMANUELLE E
GLI ULTIMI CANNIBALI (1977). Followed by one more entry: EMANUELLE FUGA
DALL’INFERNO. English titles: CAGED WOMEN, CHICKS IN CHAINS, EMANUELLE
REPORTS FROM A WOMEN’S PRISON, EMMANUELLE IN HELL, VIOLENCE IN A WOMEN’S
(WOMAN’S) PRISON. |
Violette Nozière (1978, FRA/CDN)
C-124m. **½
D: Claude Chabrol. Starring Isabelle Huppert, Stéphane Audran, Jean Carmet,
Jean-François Garreaud, Bernadette Lafont, Henri Attal, Dominique Zardi. Paris in the early
1930s: Fourteen-year-old girl Violette has relationships with various men and
is disenchanted with her parents, who show no compassion for the girl’s
problems. How can they be solved? Not one of director Chabrol strongest
works, film is buoyed by exceptional camerawork (Jean Rabier) and an
appropriately melancholy performance by Huppert as the young girl.
Interesting mainly for Chabrol enthusiasts, others beware of the complicated
narrative structure. Most reviews reveal too much of the plot! From a novel
by Jean-Marie Fitère, which is based on a true case. Released in the U.S. as
VIOLETTE. |
Virgin among the Living Dead, A (1971, FRA/ITA) C-88m.
** D: Jess Franco. Starring Christine von Blanc, Howard Vernon, Jess
Franco. Pretty von Blanc moves into her uncle’s castle after her father’s
death and is soon plagued by nightmares and other weird going-ons. Rather
inept, repetitive and sometimes incomprehensible, this horror film at the
same time manages to be oddly atmospheric and even enigmatic! The American
video release, titled ZOMBIE 6, is cut and features some footage inserted by
the producer (and shot by Jean Rollin) years later. The original version is
available in Europe. |
Virus (1980, ITA/SPA) C-100m. M D: Vincent Dawn (=Bruno
Mattei). Starring Frank Garfield, Roger O’Neil. One of the worst and most
unashamed horror rip-offs to emerge in the years following the release of
George Romero’s DAWN OF THE DEAD. Trash production follows the ‘adventures’
of several survivors of a virus catastrophe that turned most people into
zombies. Goblin are credited with the music score, but in fact,
film just uses their original score from the 1978 DAWN! Several plot elements
(read: gory killings) are utterly reminiscent of the Romero classic. It’s no
coincidence director Mattei chose ‘Dawn’ as a pseudonym! The running time is
simply preposterous, even more so for such an incoherent and dumb movie. Alternate titles: VERUS -
INFERNO DEI MORTI VIVENTI, and APOCALIPSIS CANIBAL. U.S. title: NIGHT OF THE
ZOMBIES. |
Virus (1999, USA) C-99m. Scope M D: John Bruno. Starring Jamie Lee Curtis, William
Baldwin, Donald Sutherland, Joanna Pacula, Marshall Bell, Sherman Augustus,
Cliff Curtis, Julio Oscar Mechoso. Greedy sea captain Sutherland considers
his latest discovery, a deserted Russian mega-ship, his chance at getting
rich, but it turns out it has been infested by a virus from outer space that
is turning the machinery on board into uncontrollable monsters designed to
wipe out humanity. After 20 minutes film abandons the plot and rips off
countless better films like ALIEN, TERMINATOR or SPHERE. Ludicrous, and a
waste of time. Based on a comic book series, and it shows in the plotting,
and unfortunately not in the design. |
Visions of Light: The Art of
Cinematography (1992, USA/JAP) C-92m. *** D: Arnold Glassman, Todd McCarthy,
Stuart Samuels. Interesting documentary looks at 20th century
cinematographers and the tricks of their trade. Almost 100 films are dealt
with (brief sequences are discussed by the interviewees). Most enlightening
and amusing anecdotes concern Richard Brooks’ IN COLD BLOOD (shot by Conrad
Hall) and Polanski’s ROSEMARY’S BABY, respectively. Worth watching, although
only a handful European films are discussed. What about the great Mario Bava?
Among those interviewed: Sven Nykvist, Conrad Hall, Michael Chapman, Néstor
Almendros, Vilmos Zsigmond, Robert Wise, Laszlo Kovacs, Haskell Wexler,
Gordon Willis and Vittorio Storaro. |
Visitor, The (1979, ITA/USA)
C-101m. ** D: Michael J. Paradise (=Giulio Paradisi). Starring Mel Ferrer,
Glenn Ford, Lance Henriksen, John Huston, Joanne Nail, Sam Peckinpah, Shelley
Winters, Paige Conner, Franco Nero. Science-fiction horror film made by
Italian hands. In present-day America, Huston is on trail of a child with
mysterious powers, which she might use against mankind. Apocalyptic recycling
of THE OMEN (1976) is unfortunately pretentious, despite (or because?)
presence of stars. For the curious. Cowritten and coproduced by Ovidio G. Assonitis.
Original version might run longer. Italian title: STRIDULUM. |
Visit to a Small Planet
(1960, USA) B&W-85m. **½ D: Norman Taurog. Starring
Jerry Lewis, Joan Blackman, Earl Holliman, Fred Clark, John Williams, Milton
Frome, Ellen Corby, Joe Turkel. Rare Jerry Lewis movie, an adaptation of Gore
Vidal’s play. Jerry plays an extra-terrestrial who travels to Planet Earth to
study it and its inhabitants. This leads to more or less amusing
complications in alien-disbeliever Clark’s household. Some candid moments for
a 1960 movie, as well as interesting Beatnik references. Likable Lewis gives it
his best, but plot isn’t very funny. |
Vita
è Bella, La (1998, ITA) C-124m. ***
D: Roberto Benigni. Starring Roberto Benigni, Nicoletta Braschi, Horst Buchholz. Bittersweet comedy
set in the late 1930s about a Jewish waiter (Benigni), who falls in love with
a woman who is supposed to marry someone else. He wins her over with his
innocent humor. The rise of Fascism threatens to destroy their relationship,
but the man keeps up his joyful temper, esepcially towards his little son.
Benigni's tragic story won him three Oscars for Best Actor, Best Screenplay,
and Best Foreign Film. A long, heartbreaking journey into the terrible days
of World War Two, with beautiful photography by Tonino delli Colli and a fine
score. |
Vital (2004, JAP)
C-86m. *** D: Shinya Tsukamoto. Starring Tadanobu Asano, Nami Tsukamoto,
Kiki, Kazuyoshi Kushida, Lily, Jun Kunimura. Low-key but telling examination
of love and mourning about medical student Asano, who suffers from amnesia
after an accident which killed his girlfriend. Then, as he takes up his
studies again, he realizes it’s her body he’s studying in the university’s
anatomy course! Not a horror film, nor a mystery, this psycho drama is not
for all tastes but it’s strikingly directed and shot (by the director of the
TETSUO films and the incredible TOKYO FIST). |
Vittima Designata, La (1971, ITA/FRA)
C-100m. **½ D: Maurizio Lucidi. Starring Tomas Milian, Pierre Clémenti,
Marisa Bartoli, Bruno Boschetti, Sandra Cardini. Fairly interesting crime drama
lifts its central idea off Hitchcock’s STRANGERS ON A TRAIN (1951), itself an
adaptation of a Patricia Highsmith novel. Unhappily married businessman
Milian is baffled when stranger Clémenti offers to murder his wife in
exchange for the assassination of his own brother. At first Milian is put off
by the decadent, bored count, then circumstances force him to act
accordingly. Medium giallo idles along, with main interest coming from
melancholy classical score by Luis Enríquez Bacalov. Not bad, well-worth a
look. Screenplay cowritten by Augusto Caminito, Aldo Lado and director
Lucidi. English titles: THE DESIGNATED VICTIM and SLAM OUT. |
Viva América! (1969, SPA/ITA) C-90m.
** D: Saverio (Javier) Setó. Starring Jeffrey Hunter, Margaret Lee,
Guglielmo Spoletini, Gogó Rojo, Pier Angeli. Gangster chronicle about
Italian immigrant Hunter, who becomes his brother’s partner in 1920s Chicago
and introduces a new order in the underworld. Relatively ambitious, with
Hunter (in his last film appearance) acting hard against trite script.
English titles: MAFIA MOB, CRY CHICAGO, and THE TRUE STORY OF FRANK MANNATA. |
Viva la Muerte (1970, FRA)
C-90m. **½
D: Fernando Arrabal. Starring Fernando Arrabal, Mahdi Chaouch, Mohamed
Bellasoued, Núria Espert. Experimental art film, a reaction to and an attempt to
exorcise the demons of General Franco’s despotic rule of Spain from WW2 to
the 1970s. Plot outline deals with a little boy, whose father is in prison
and who suffers traumata under the wing of his mother, a religious fanatic.
Disturbing surreal images abound in this highly symbolical but hard to
decipher art film. Off-putting and fascinating in turns. Judge for yourself.
Writer-director Arrabal’s first of five (some sources state seven) feature
films. This one is based on his novel Baal Babylone. Along with
Alejandro Jodorowsky (FANDO Y LIS) and Roland Topor (THE TENANT), Arrabal was
the co-founder of the Panic Movement, a radical surrealist group. |
Vivement Dimanche! (1983, FRA) 111m. ***
D: François Truffaut. Starring Jean-Louis Trintignant, Fanny Ardant, Philippe
Laudenbach, Caroline Sihol, Philippe Morier-Genoud, Xavier Saint Marcay. Real estate agent
Trintignant is wrongly accused of a murder and hides from the police while
his secretary Ardant is investigating the case on his behalf. Suspenseful
whodunit, well-photographed (by Nestor Almendros), well-scored (by Georges
Delerue), and not without a sense of humor. Truffaut’s last film was based on
the novel The Long Saturday Night by Charles Williams. English title:
CONFIDENTIALLY YOURS. |
Vixen!
(1968, USA) C-71m. **½ D: Russ
Meyer. Starring Erica Gavin, Garth Pillsbury, Harrison Page, Jon Evans,
Vincene Wallace, Russ Meyer. Typical Meyer potboiler, a sex-and-crime pulp
melodrama about a voluptuous woman (Gavin) whose husband flies tourists into
British Columbia. The arrival of two holidaymakers ignites her lust, and
there is racial tension, too. Not particularly meaningful, but an okay view,
especially at this running time. Its easy-going score makes it a time capsule. |
Viy (1967, RUS) C-72m. *** D: Georgi Kropachyov,
Konstantin Yershov. Starring Leonid Kuravlyov, Natalya Varley, Aleksei
Glazyrin, Vadim Zakharchenko. A young seminarian on leave spends the night in
a house of an old recluse and realizes that she is actually a witch. The
witch ultimately changes into a beautiful young woman, exactly the one to
whose deathbed the seminarian is called on the next day. Will he be brave
enough to spend three nights saying prayers for her? Interesting,
well-directed chiller was the first Soviet horror film, with atmosphere and
design reminiscent of the Russian fairy tales of the 1950s and 1960s. A must
for horror film fans! Adapted from a short story by Nikolai Gogol, which was
also the basis for Mario Bava’s classic LA MASCHERA DEL DEMONIO (1960). Some
sources credit cowriter and special effects supervisor Aleksandr Ptushko with
the direction as well. English title: THE VIY OR SPIRIT OF EVIL. |
Vizi Morbosi di una Governante, I
(1977, ITA) C-83m. ** D: Filippo Walter Ratti. Starring Corrado Gaipa,
Roberto Zattini, Isabelle Marchall, Annie Carol Edel, Gaetano Russo.
Post-giallo sleaze mixing sex and violence about Marchall, who returns to her
grandfather’s with a few friends in tow. They plan to party and relax, but
soon they are stalked by a maniac. Sounds like it cannot fail, but does so, with poor
pacing and gratuitous nudity. Even giallo fans should avoid this one. English
title: CRAZY DESIRES OF A MURDERER. |
Voci dal Profondo (1990, ITA) C-84m. *½
D: Lucio Fulci. Starring Duilio Del Prete, Karina Huff, Paolo Paoloni, Pascal
Persiano, Lucio Fulci. Latter-day Fulci about a businessman who suddenly
dies (was he killed?). His spirit remains alive and tries to find the person
responsible. Starts okay, loses its way pretty soon, when family relations
become more than confusing. Some trademark gore, but otherwise nothing
special here. From a story by Fulci (he also cowrote the screenplay). Not-bad
score by Stelvio Cipriani. English title VOICES FROM THE DEEP. |
Voici le Temps des Assassins (1956, FRA) 113m. ***
D: Julien Duvivier. Starring Jean Gabin, Danièle Delorme, Lucienne Bogaert,
Gérard Blain, Germaine Kerjean, Gabrielle Fontan, Robert Manuel. Vividly
directed, potent crime drama about respected restaurant chef Gabin, who is
visited by a girl one day, who claims to be the daughter of his recently
deceased ex-wife. He puts her up in his house, without knowing her true
intentions. Young student Blain, another one of Gabin's protégés, is
infatuated, but she seems to have fallen in love with the elderly man. Slight
overlength, unprecise character definitions are film's only flaws.
Fascinating, if typically cold-blooded French drama. English title: DEADLIER
THAN THE MALE. |
Von Sex bis Simmel (2005, GER) C-67m. **
D: Hans Günther Pflaum, Peter H. Schröder. German documentary focusing on
several German sex films from the 1970s (the 13-part SCHULMÄDCHENREPORT
series) and some hesitantly erotic (but equally trashy) Johannes Mario Simmel
adaptations. Producer Wolf C. Hartwig explains his motivations and why he
thinks the films grossed six times as much as those of acclaimed German
directors Fassbender, Wenders or Herzog. Leaves out many other sex films (and
possible interviewees) and is generally not very enlightening. Like the
films, of marginal interest only. Among the other interviewees: Margarethe
von Trotta, Volker Schlöndorff, Hanna Schygulla. |
Voyou (1970, FRA/ITA) C-120m. *** D: Claude Lelouch.
Starring Jean-Louis Trintignant, Charles Denner, Danièle Delorme, Christine
Lelouch, Yves Robert, Sacha Distel. Amusing crime comedy with Trintignant
playing a charismatic, resourceful thief. Plot is episodic but coherent,
Lelouch’s cinema-tography and direction good. Fine score by Francis Lai.
Jacques Herlin appears unbilled as the prison warden. Claude Pinoteau cowrote
the screenplay with director Lelouch. English title: THE CROOK. |
Vredens Dag (1943, DEN)
B&W-110m. *** D: Carl Theodor Dreyer. Starring Thorkild Roose, Lisbeth Movin,
Preben Lerdorff Rye, Anna Svierkier, Sigrid Neiiendam. Heavy-going drama set
in the 17th century about the repercussions of a curse uttered by
a woman wrongly accused of witchcraft. Priest Roose, who once saved a woman
from being burned because he wanted to marry her daughter, feels pangs of
conscience and is soon confronted with his much younger wife’s infatuation
with his own son. Stagy, but excellent photography by Karl Andersson recalls
the works of 1920s expressionism. English titles: DAY OF ANGER, DAY OF WRATH. |