Directed by Alfred Hitchcock and screenplay by John Michael Hayes from a story by Charles Bennett and D.B. Wyndham-Lewis, The Man Who Knew Too Much is the story of a vacationing couple in Morocco whose son witnesses an assassination plot as he is kidnapped prompting the couple to get their son back. A remake of the 1934 film of the same name, the film is a suspense thriller that explores a couple who deals with what their son discovered as they also realize what is at stake in not just for their son but for so much more. Starring James Stewart, Doris Day, Brenda de Banzie, Bernard Miles, Christopher Olsen, Daniel Gelin, and Reggie Nalder. The Man Who Knew Too Much is a riveting and exhilarating film from Alfred Hitchcock.
The film revolves around a couple who go to Marrakesh during a vacation in Morocco as they meet a Frenchman whom they would later see killed in an assassination plot as their son is later kidnapped as they wonder what is going on. It’s a film that play into a doctor and his wife whose meeting with a Frenchman and then see him killed the next day who gives the doctor a message as he becomes unsure whether to tell the authorities after getting a call that his son had been kidnapped. John Michael Hayes’ screenplay, with un-credited contributions from Angus McPhall, opens the film with an orchestral performance that would be crucial to its climax in relation to what is at stake in this assassination plot. Dr. Benjamin McKenna (James Stewart) and his pop singer wife Josephine “Jo” Conway McKenna (Doris Day) were with their son Hank (Christopher Olsen) when they meet Louis Bernard (Daniel Gelin) on a bus as they would later have a dinner with him only to be cancelled as the McKennas later dine with a British couple in Edward and Lucy Drayton (Bernard Miles and Brenda de Banzie respectively).
The Draytons aren’t what they seem when they suddenly disappear as Hank was with Lucy shortly after the assassination plot they witnessed where Bernard told Dr. McKenna crucial information. The first act takes place in Marrakesh while its second act is in London where the McKennas arrive to find a person named Ambrose Chappell based on a note that Dr. McKenna wrote from what Bernard told him. Their arrival in London is met with fanfare for Jo as she still had some air of popularity during her time as a singer where some old friends of her come and visit her at the hotel she and her husband stay in. It is in London that leads to this climatic event at the Royal Albert Hall as well as who is the target of this major assassination plot as the script manages to maintain this slow build but keep investing in its approach to suspense.
Alfred Hitchcock’s direction does bear style as it just opens with this orchestral performance of Arthur Benjamin’s Storm Clouds Cantata as it would be a piece re-played for its climax. Shot in locations in Morocco and London, the film does play into a world where this couple and their young son are just pawns of as they would witness a man being killed and later be involved about a secret assassination plot. While there are some wide shots that Hitchcock would create, much of his direction is emphasized more on attention to detail in the close-ups and medium shots as it play into the drama but also certain clues that play into the mystery. Hitchcock would also infuse some stylish shots as it play into the suspense and drama as well as the air of misdirection where Hitchcock would take a character somewhere and then put that person in the wrong place.
Hitchcock’s direction also play into this world where one couldn’t trust anyone as Dr. McKenna’s believes that there are authorities who are corrupt following a meeting he and Jo had with an immigration official where Dr. McKenna gets a call that Hank had been kidnapped. One of the few figures that the McKennas do trust but never tell them what they know is Inspector Buchanan (Ralph Truman) who understands the severity of their situation but is aware of what is at stake for the McKennas. The film’s climax is set at the Royal Albert Hall during this performance as it is about where the target is at and where the assassin is at the importance of the music piece. Hitchcock’s usage of geography and timing is key to that event as it would be followed by an aftermath where music is once again key to the dramatic suspense but it is presented in a more intimate setting. Overall, Hitchcock crafts a thrilling and captivating film about a couple whose son is kidnapped after they had witnessed a murder that involves a major assassination plot.
Cinematographer Robert Burks does brilliant work with the film’s colorful cinematography as it captures the exquisite beauty of some of the locations in Morocco and in London in its daytime exteriors as well as the usage of low-key lights for some of the nighttime interior scenes. Editor George Tomasini does excellent work with the editing as it help play into the suspense and drama with some structural fade-outs and rhythmic cuts that include the film’s climax at the Royal Albert Hall. Art directors Henry Bumstead and Hal Pereira, with set decorators Sam Comer and Arthur Krams, do fantastic work with the look of the hotel rooms and dining room in Marrakesh as well as the hotel suite they stay at in London as well as the mysterious home of Ambrose Chappell.
Costume designer Edith Head does amazing work with the costumes from the dresses that Jo wears as well as the glamorous clothes that some of the attendees at the Royal Albert Hall wear. Sound recordists Paul Franz and Gene Garvin, with sound editor Bill Wistrom, do superb work with the sound as it play into the atmosphere of the locations as well as in creating sound effects to help play into the suspense. The film’s music by Bernard Herrmann is incredible for its orchestral score with some lush string arrangements for the somber moments and some bombastic textures to play into the suspense while Herrmann appears in the film’s climax as the conductor for a performance of Arthur Benjamin’s Storm Clouds Cantata while the music soundtrack also features an original piece in Que Sera, Sera (Whatever Will Be) that is written by Jay Livingston and Ray Evans as it is a crucial song that is used for its final showdown.
The casting by William Cowitt, Gary Fifield, Bill Greenwald, Edward R. Morse, and Tony Regan is wonderful as it feature some notable small roles from George Howe and Richard Wordsworth as two men named Ambrose Chappell, Alexis Bobrinskoy as Britain’s prime minister, Alan Mowbray and Hillary Brooke as a couple of Jo’s old friends visiting her in London, Reggie Nalder as a mysterious man that the McKennas meet early in the film, Mogens Weith as a foreign ambassador who might have some involvement with the assassination plot, and Christopher Olsen as the McKennas’ young son Hank. Daniel Gelin is terrific in his brief yet crucial performance as Louis Bernard as a French-Moroccan man whom the McKennas meet early in the film as he is an ambiguous figure yet would be killed because of some information he discovered that he would pass to Dr. McKenna.
Ralph Truman is superb as Inspector Buchanan as a police inspector in London who wants to help the McKennas but is aware of what is at stake as he stays close to them while attending to other matters that would relate to the film’s climax. Bernard Miles and Brenda de Banzie are fantastic in their respective roles as Edward and Lucy Drayton as a British couple the McKennas meet as they look at various sites in Marrakesh with the former knowing how to speak French but they’re also a couple who provide intrigue in the way they present themselves and the way they look at the McKennas the first time they’re shown. Finally, there’s the duo of James Stewart and Doris Day in incredible performances in their respective roles as Dr. Ben McKenna and Jo McKenna as this American couple who witness a murder and later deal with their son being kidnapped with Stewart being a rational man trying to understand what is going on and is aware that he can’t trust anyone while Jo is a woman that is just troubled as she would also embark on her own investigation as she makes a major discovery and play a key role in the film’s climax.
The Man Who Knew Too Much is a spectacular film from Alfred Hitchcock that features sensational performances from James Stewart and Doris Day. Along with its supporting ensemble cast, usage of geography and location, riveting screenplay, and Bernard Herrmann’s sumptuous music score. It is a film that does a lot that is expected in the world of suspense and drama while it’s also one of Hitchcock’s quintessential film in terms of emphasis on attention to detail and maintaining an atmosphere to play up the suspense. In the end, The Man Who Knew Too Much is a tremendous film from Alfred Hitchcock.
Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) – The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) – The Lady Vanishes - (Jamaica Inn) – Rebecca – (Foreign Correspondent) – (Mr. & Mrs. Smith) – Suspicion - (Saboteur) – (Shadow of a Doubt) – Lifeboat - Bon Voyage (1944 film) - (Spellbound) – (Notorious) – (The Paradine Cage) – Rope - (Under Capricorn) – (Stage Fright) – Strangers on a Train - I Confess - Dial M for Murder - Rear Window - To Catch a Thief - (The Trouble with Harry) – (The Wrong Man) – Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) – (Topaz) – (Frenzy) – (Family Plot)
© thevoid99 2019
Based on the short stories of Guy de Maupassant, Le Plaisir is a film that tell three different stories of life in late 19th Century France involving ballrooms, a painter’s studio, a countryside retreat, and bordellos. Directed by Max Ophuls and screenplay by Ophuls and Jacques Natanson, the film revolves around the world of 19th Century France in all of its trials and tribulations. Starring Jean Gabin, Simone Simon, Danielle Darrieux, Daniel Gelin, Claude Dauphin, Gaby Morlay, Madeleine Renaud, Ginette Leclerc, Pierre Brasseur, and Jean Servais as the voice of Guy de Maupassant. Le Plaisir is an evocative and exuberant film from Max Ophuls.
Set in the late 19th Century just years before the 20th Century, the film tell three different stories all based on the theme of pleasure in all of its fallacies. While it is presented as an anthology film, they all play into that theme with the middle section in Le Maison Tellier being the most dominant of the three while the opening story Le Masque and the closing story Le Modele both are given smaller time yet manage to provide enough to play into its theme. Le Masque is set in the world of ballrooms where a man in a mask (Jean Galland) arrives to dance with a young woman (Gaby Bruyere) only to pass out as a doctor (Claude Dauphin) makes a discovery and wonders why this man wears a mask. Le Maison Tellier revolves around a bordello madam (Madeleine Renaud) who takes her fellow prostitutes to the country where her niece is having her first communion while her brother (Jean Gabin) falls for one of the prostitutes in Rosa (Danielle Darreiux). In Le Modele, an artist (Daniel Gelin) falls for a model (Simone Simon) who would be his muse as their relationship starts off as idyllic only to turn into total chaos.
Max Ophuls’ direction is definitely exquisite not just for the setting that he creates but also in the intricate camera work that approaches for all of the stories. The scenes in Le Maison starts off as very extravagant with everyone going into the ballroom but once the man in the mask faints and falls ill. The tone of the story changes where it becomes more intimate with Ophuls maintains an intimacy in the medium shots and close-ups as opposed to the more lavish scenes in the ballroom where Ophuls would use tracking shots and some crane shots to play into the grandness of the ballroom. For Le Maison Tellier, the segment starts off at night in the city where it’s raucous while the scenes in the country are quainter and peaceful which makes the madam and her prostitutes a little uneasy as well as the sense of purity during the community scene as it is too much for Rosa to bear.
Ophuls’ approach to the scenes are more intimate but also has a mixture of long tracking shots as well as some slanted camera angles. In Le Modele, Ophuls would return to broader compositions as it relates to the world of art but it also has some style as it relates to the world of the artist and the model as they’re at odds with each other. Ophuls’ usage of slanted angles and some wide shots play into the tension while the rest of the film would feature moments that are somber. Notably in Le Maison Tellier where bordello regulars learn that the bordello is closed for a small period of time as the men are in a park trying to figure out what to do or what to talk about. It’s a moment that is presented with a simplicity as Ophuls isn’t aiming for style except in the film’s narration by the voice of Guy de Maupassant who would voice his thoughts on the story from time to time. Overall, Ophuls creates a majestic yet compelling film about the lives of different people and their encounter with pleasure.
Cinematographers Christian Matras and Philippe Agostini do brilliant work with the film’s black-and-white photography with the latter shooting many of footage for Le Modele while the former would create some extravagant lighting for the ballroom scenes in Le Masque and the more naturalistic daytime exteriors in Le Maison Tellier. Editor Leonide Azar does excellent work with the editing as it is very straightforward where it doesn’t go for any kind of style with the exception of a few rhythmic cuts here and there. Production designer Jean d’Eaubonne and set decorator Robert Christides do fantastic work with the design of the ballroom as well as the bordello and the artist’s studio to play into the world of extravagance.
Costume designer Georges Annenkov does amazing work with the design of the costumes from the dresses that the women wear to the costume of the masked man. The sound work of Louis Haller is terrific for its simplicity as it plays to the raucous world of the ballrooms and bordello to the calm atmosphere of the church during the communion scene. The film’s music by Joe Hayos is wonderful for its orchestral-based score that is largely based on the music of the times including the music that people danced too at the time.
The film’s incredible ensemble cast an array of noteworthy performances with Jean Servais in a superb performance as the voice of Guy de Maupassant. From the Le Masque, the performances of Jean Galland as the masked man, Claude Dauphin as the doctor, Gaby Bruyere as the masked man's dance partner, and Gaby Morlay as an old woman taking care of the masked man are all great in displaying the anguish of youth and aging. From Le Modele, the performances of Daniel Gelin and Simone Simon in their respective roles as the artist and the model are remarkable in displaying a love affair that starts out right only to become tumultuous. Much of the film’s ensemble that appears in Le Maison Tellier are fantastic with the small performances from Jocelyne Jany as the madam’s niece, Antoine Balpetre as a patron at the bordello, Rene Blancard as a mayor who is also a regular patron at the bordello, and Henri Cremieux as another rich patron of the bordello.
In the role of some of the prostitutes, there’s Mathilde Casadesus, Ginette Leclerc, Mila Parely in wonderful performances as a trio of prostitutes who have a hard time with the air of silence during the night during their country stay. Pierre Brasseur is very funny as a traveling salesman who tries to sell garments to the prostitutes where he does something very wrong. Jean Gabin is brilliant as the madam’s brother who falls for a young prostitute as he tries to deal with getting his daughter’s first communion to go well. Danielle Darrieux is sublime as Madame Rosa as a young prostitute who is in love with her boss’ brother as she becomes moved by the communion procession as well as the sense of purity in the country. Finally, there’s Madeleine Renaud in a radiant performance as Julia Tellier as a brothel madam who goes to the country to see her niece’s first communion as she doesn’t just cope with life in the country but also how her prostitutes react to a very different environment.
Le Plaisir is a sensational film from Max Ophuls. Featuring a great ensemble cast, amazing camerawork, dazzling art direction, and captivating stories on life’s pleasures and their flaws. It’s an intriguing film that tell three different stories of late 19th Century life and the many complexities of what people will do to find happiness. In the end, Le Plaisir is an incredible film from Max Ophuls.
Max Ophuls Films: (The Bartered Bride) - (The Merry Heirs) - (Liebelei) - (A Love Story (1933 film)) - (Everybody’s Woman) - (The Tender Enemy) - (The Trouble with Money) - (Yoshiwara) - (The Novel of Werther) - (Sarajevo (1940 film)) - (The Exile) - (Letter from an Unknown Woman) - (Caught (1949 film)) - (The Reckless Moment) - La Ronde - The Earrings of Madame de... - Lola Montes - (The Lovers of Montparnasse)
© thevoid99 2017
Based on the play by Arthur Schnitzler, La Ronde is a collection of stories involving infidelity where one person meets this person and that person meets another person. Directed by Max Ophuls and screenplay by Ophuls and Jacques Natanson, the film is an exploration into what makes people fall in love and commit adultery in the most whimsical of ways. Starring Anton Walbrook, Simone Signoret, Serge Reggiani, Simone Simon, Daniel Gelin, Danielle Darrieux, Fernand Gravey, Odette Joyeux, Jean-Louis Barrault, Isa Miranda, and Gerard Philipe. La Ronde is a witty and delightful film from Max Ophuls.
Set in 1900 Vienna, the film follows a series of infidelities where a man meets a woman and that woman meets another man who would be with this woman who would be with this man and so on. It’s a film with a simple premise as it’s largely told by a narrator (Anton Walbrook) from the modern world who would tell these stories involving people falling in love. Among them is a soldier who meets a prostitute as he would later fall for this chambermaid who falls for the son of the people she’s working for as he would have an affair with a married woman. That is the narrative in a nutshell as it is largely told by this narrator who would often break down the fourth wall or appear in a story as a supporting character. It’s a very unique approach to the narrative as it covers one affair after the other as the characters that are in this merry-go-round of love affairs prove to be very interesting and why people would fall in love with this person or that person.
Max Ophuls’ direction is definitely intoxicating to watch from the way he recreates 1900 Vienna as well as not be afraid to break the fourth wall. Shot largely in a soundstage as Vienna, Ophuls would use the setting to create some intricate camerawork with the tracking shots and some crane shots where it would often last for minutes rather than shoot something for less than a minute. Ophuls’ usage of close-ups and medium shots would maintain an intimacy for much of the film while he would also use some slanted camera angles for stylish reasons to play into a character that is in a transition from one lover to another. There are some wide shots in the film as it’s more about the romances and relationships while the narrator would often be seen driving a merry-go-round or do something that relates to the story where he would hold a reel of film and cut it out and back to a certain part of the story. Overall, Ophuls creates a whimsical yet splendid about people falling in love with this person and that person.
Cinematographer Christian Matras does brilliant work with the film’s black-and-white photography with its usage of shades and shadows for some of the interiors along with some unique lighting for some of the exterior scenes set at night. Editor Leonide Azar does excellent work by creating some unique cutting styles including a few transitional wipes and some rhythmic cuts to play into some of the comedy and conversations. Production designer Jean d’Eaubonne does fantastic work with the set design from the different homes of some of the characters to the design of the merry-go-round. The costumes of Georges Annenkov are wonderful for its stylish look in the dresses the women wear as well as the suits that the men wear. The sound work of Pierre-Louis Calvet is superb for the natural elements of the sound as it doesn’t try to go for anything artificial. The film’s music by Oscar Strauss is amazing as it is this very lively orchestral score that play into the humor and romance with some songs sung by the narrator.
The film’s incredible ensemble cast feature performance that are just fun to watch starting with Anton Walbrook as the film’s narrator/game master who leads the audience to the story and break the fourth wall at times while taking on small supporting roles as an outsider as he’s a joy to watch. From the side of the men, we have Gerard Philipe in a superb performance as a young count who is in love with the actress while he would lament over his own love affairs. Jean-Louis Barrault is terrific as a poet who is in love with a young grisette named Anna as well as the actress while Daniel Gelin is excellent as a young man who would have an affair with a maid and a married woman. In the role of the young soldier, Serge Reggiani is fantastic as the soldier who would start things off in his tryst with a prostitute and later the maid. Fernand Gravey is excellent as the husband of the cheating wife who is having a relationship with a young grisette as he laments over his marriage.
From the women, we have Isa Miranda in a wonderful performance as a stage actress who is having an affair with a poet and a young count while Odette Joyeux is brilliant as a young grisette who spends her time with this married man but is in love with this poet. Danielle Darrieux is amazing as this married woman who is in love with this young man that she’s having an affair with yet still has love for her husband despite their passionless marriage. Simone Simon is radiant as a young maid who is dating this young soldier yet manages to fall for this man whose parents she works for while Simone Signoret is great as a prostitute who starts the entire story with her brief liaison with a soldier as she would start a chain of affairs for everyone involved.
La Ronde is a phenomenal film from Max Ophuls. Featuring a great ensemble cast, a witty story about infidelity, and an unconventional approach to its narrative. It’s a film that manages to be something fun as well as provide some unique ideas about infidelity in a humorous way. In the end, La Ronde is a spectacular film from Max Ophuls.
Max Ophuls Films: (The Bartered Bride) - (The Merry Heirs) - (Liebelei) - (A Love Story (1933 film)) - (Everybody’s Woman) - (The Tender Enemy) - (The Trouble with Money) - (Yoshiwara) - (The Novel of Werther) - (Sarajevo (1940 film)) - (The Exile) - (Letter from an Unknown Woman) - (Caught (1949 film)) - (The Reckless Moment) - Le Plaisir - The Earrings of Madame de... - Lola Montes - (The Lovers of Montparnasse)
© thevoid99 2017
Written and directed by Louis Malle, Le souffle au coeur (Murmur of the Heart) is the story of a boy coming of age in post-World War II France as he discovers the world of sex and the social life of his own mother. The film isn’t just an exploration into a boy’s awareness of sex as well as being in a bourgeois world that his mother is a part of. Starring Benoit Ferreux, Lea Massari, Daniel Gelin, Ave Ninchi, Gila von Weitershausen, and Michael Lonsdale. Le souffle au coeur is a witty yet intoxicating film from Louis Malle.
Set in 1954 France during the Indochina War, the film revolves around a young boy coming of age as he opposes the war yet becomes concerned with his interest in sex as well as his own relationship with his mother. All of which plays into the life of a 14-year old boy who becomes fascinated by the changes in his life as his older brothers are having parties with beautiful women while he starts to outgrow boyish things. Still, Laurent Chevalier (Benoit Ferreux) is still at a stage in his life where he is becoming an adult but is still a child at heart as he also copes with being unloved by his gynecologist father but adored by his mother Clara (Lea Massari). It is largely told from Laurent’s perspective as he deals with growing pains and the demands he has as a teenager where he is taught at a Catholic school while getting his first taste with girls and sex.
Louis Malle’s screenplay has a very unique structure where its first half is set in a small French town where Laurent is just a boy coming to terms with a world that is changing as he loves jazz music and all sorts of mischief with his older brothers. On a day he walks home from school with a friend, he would see his mother get into a car with another man as it would trigger a series of events where his brothers would take him to a brothel where he would lose his virginity. Yet, the encounter would only have him confused and ill with a heart murmur as the film’s second half is set in a hotel where Laurent is cared for as he’s accompanied by his mother. It’s in this sanatorium/hotel where Laurent not only increases his interest towards other girls but also learn more about the life of his mother as it adds to his growing awareness that everything in his family life isn’t exactly what it seems. Especially as the retreat has Laurent become more attached towards is mother.
Malle’s direction is very engaging for the way he portrays early 1950s France where television had just emerged in the country while there’s growing debate about the war in Indochina. It’s a film where Malle decides to create something that is intimate as some of it is based on his own upbringing where Malle would shoot the film in the small town of Dijon to play into an upper-middle class world. Using lots of medium shots and close-ups, Malle aims for something that is loose in terms of some of the film’s humor while going for something much more intimate in his framing as it relates to the drama and Laurent’s relationship with his mother. Things do get more intense though on a restrained level once the film is set in this retreat where Laurent not only becomes more interested in girls but also his own mother. Malle’s usage of hand-held cameras become more evident as it plays into some of the craziness that occurs in this retreat but also the tension that looms towards Laurent’s feelings for his mother. Overall, Malle creates a very engaging yet provocative film about a boy coming of age sexually in 1950s France.
Cinematographer Richard Aronovich does brilliant work with the film‘s lush and colorful cinematography to capture some of the low-key yet grimy look of the locations in Dijon along with the more evocative look at the retreat with its usage of natural lights. Editor Suzanne Baron does nice work with the editing as it‘s very stylish with its usage of jump-cuts to play into some of the humor and chaos that occurs in the film. Production designer Jean-Jacques Caziot does superb work with the look of the Chevalier family home as well as the hotel Laurent and his mother stay at.
The sound work of Jean-Claude Laureux does terrific work with the sound as it is raucous for some of the livelier moments with the crowd with sparse moments in the intimate scenes between Laurent and his mother. The film’s music consists of pieces by Sidney Bechet, Gaston Freche, Charlie Parker, Dizzy Gillespie, and Henri Renaud as it’s a fantastic soundtrack that plays into Laurent’s own love for jazz and how it means to him in a complicated world.
The film’s amazing cast includes some notable small performances from Jacqueline Chauvaud and Corrine Kersten as a couple of young women Laurent meet at the retreat, Francois Werner as the snobbish rich kid Hubert that flirts with Laurent’s mother at the retreat, Henri Poirier and Micheline Bona in their respective roles as Uncle Leonce and Aunt Claudine, Gila von Weitershausen as the prostitute Laurent would lose his virginity to, and Ave Ninchi as the family maid Augusta who tries to keep things under control in the chaotic home of the Chevalier family. Marc Winocourt and Fabien Ferreux are terrific in their respective roles as Laurent’s older brothers Marc and Thomas who often get him into mischief as well as try to get him laid.
Michael Lonsdale is superb as Father Henri who tries to understand what Laurent is going through while being his teacher and ponder about Laurent’s sudden interest in things that sort of attack the Catholic church. Daniel Gelin is excellent as Laurent’s father Charles as this renowned gynecologist who is very distant with Laurent as he is always busy and wonders why he is so odd. Lea Massari is brilliant as Laurent’s mother Clara as this Italian woman who is so full of life and love as she also leads a secret life that eventually becomes troubling as she copes with her own faults as a wife and mother. Finally, there’s Benoit Ferreux in a marvelous performance as Laurent Chevalier as this young man coming of age in the mid-1950s as he learns about sex and all sorts of things while getting an understanding of the world from books and jazz music as he also deals with his own feelings towards his mother.
Le souffle au coeur is a remarkable film Louis Malle. Armed with great performances and a fantastic soundtrack, it’s a film that plays into a young boy’s life as well as his understanding about the world of sex in 1950s France. In the end, Le souffle au coeur is a dazzling and delightful from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
