michaelt-culligan

There is an element of risk in reviewing this, in that I can't be 100% certain that this is the version I saw. Certainly, it was on television and in mono! From memory, however, it was a well-acted, gently humorous drawing-room comedy despite what was possibly regarded as a slightly risqué subject at the time. The humour will, I am sure, have dated quite badly although it would be interesting to see again if only to recall some of the attitudes and mores that would seem so strange today – such as the confidence of one of the lady's suitors assertion that his English birth makes him the only possible candidate because "She'll hardly marry a foreigner, will she?"

A slightly unusual role for Gérard Depardieu in that he plays Paul, an energetic and successful young lawyer. Among his clients is Pervillard (Bernard Fresson) a rich and powerful company president, and it's while he's working for him that Paul meets a young lady, Sacha (Nathalie Baye) who Pervillard has fired for not cooperating with his sexual advances.

Even though he is married, Paul falls heavily for Sacha and risks his career by making her case public and the two of them begin an affair. When Paul's wife becomes aware of what is happening, the sparks begin to fly.

Like so many French movies, this is carefully paced rather than hurtling towards a conclusion; it needs to be savoured in order to be properly enjoyed. But, when the leading actors are as able as these four, it is more than worthwhile.

Was it the early Seventies when the world was first made aware of the potentially devastating environmental disaster that civilisation was spiralling towards? Certainly, when you place this 1972 movie alongside the lyrics of Joni Mitchell's 'Big Yellow Taxi,' there is a case to be made for it being the time when "They paved paradise and put up a parking lot." The movie has a lot going for it. To begin with, there's a performance from Bruce Dern that is worthy of comparison with Gene Hackman's Oscar-winning performance that year in a way the other nominees simply were not. He provides a passionate and intelligent performance in which he is hardly ever off-screen and makes the viewer share his anger at the treatment of his mission. Then, too, there is the rarity of a science-fiction film which does not attempt to overwhelm the viewer with unnecessary special effects – one in which the drama is driven by the character and the scarily believable story. If you are looking for a film about environmental concern that works on every level, then forget about Al Gore's worthy but dull contribution and watch this beautifully-realised film. Then watch it again... and again. It really is that good!

The first thing to be said about this film is that it ought to be a great deal better. It is, quite simply, a terrible waste of a good cast. A gang of criminals rob a department store on Christmas Eve and get a lot of money. Somehow or other they contrive to spill something on the cash that requires washing – not quite what we know as 'money laundering' today – and while its hanging up to dry in their villa hiding place, the police arrive. The police, however, are actually in pursuit of an escaped animal but, to use a phrase that is found in the descriptions of so many comedies, 'hilarity ensues.' Unfortunately, it doesn't. It is the best part of the film, but it's near the end and there's a good chance that many viewers will have switched off by then. Jean-Claude Brialy looks completely out of place playing the tough leader of the criminals; Marie Laforet almost seems to sleepwalk through her part and Sophie Daumier adds a touch of glamour as one of the young delinquents who join the gang. The talents of dependable performers such as Michel Serrault, Albert Rémy, Pierre Clémenti and Madeleine Barbulée are pretty much wasted on a comedy with few laughs. If you have a painted wall that is going to take 90 minutes to dry, then it may be more entertaining to watch this film – other than that, don't bother.

It was possibly novel in the early seventies to have a heroine who was free-spirited, who pursued men for the pleasure of brief affairs or even one-night-stands. In this case she is known as Sapho and, as she is not only given full reign by her wealthy 'protector', but is played by the gorgeous Marina Vlady, it's no surprise that she normally achieves her aim. So far so good – although there is still a large degree of coyness about the sex scenes – but it all begins to fall apart and descend into a very average story when she meets her match. After a night of passion with diplomat Lionel de Lancey (Renaud Verley), she realises that she has fallen in love. From that moment on, the original premise of the film appears to be lost. Her lover is already due to marry a more suitable bride who has been chosen and approved by his father, and Sapho has to decide if she is unselfish enough to allow his future success at the possible expense of her own. To call it 'average' would be to praise it a bit too highly.

This was the first starring role of the newly renamed Sophia Loren and she was, allegedly, unhappy with the change after working hard to succeed as Sofia Lazzaro. Legend insists that her future husband – Carlo Ponti – was responsible for the change, but it seems more likely that it was the producer of this film, Goffredo Lombardo, who followed the fashion of anglicising her first name and used a variation on the surname of Swedish actress Märta Torén with whom he had worked. The film's plot would not achieve many points for originality: A rich father (Umberto Melnati) lends his yacht to some scientists for an expedition to the Red Sea on condition that they take his rebellious daughter (Loren) along with them. She eventually gets herself into a dangerous situation underwater from which the expedition leader (Steve Barclay) has to save her. The result is somewhat short of surprising. It is, however, fascinating, to see the young Loren accept the mantle and responsibility of being the star of the film with such ease (much of the publicity consisted of distributing photos of a bikini-wearing Loren), which led to much better reviews for her than the film itself received. For a dedicated fan of Sophia Loren, it is probably worth seeking out; for anyone else, it is no different to a lot of other 'B'films of the time.

Terry-Thomas plays a writer whose editor sends him off on adventures to inspire his books. An effort about his experience of being lost in the desert and adopted by a Bedouin tribe is rejected, however, but not before he's adopted the lifestyle - and the dress - of the tribe; much to the distaste of his wife (Janette Scott). The couple end up splitting their home and their responsibilities in halves which leads to comic situations that, despite an excellent supporting cast that includes several 'Carry On' regulars, never quite manages to achieve the levels one might hope for. Not at all bad, but leaves a distinct feeling that it should have been better.