#205 Lola

Watched: November 1 2018

Director: Jacques Demy

Starring: Anouk Aimée, Marc Michel, Jacques Harden, Alan Scott, Annie Duperoux, Elina Labourdette

Year: 1961

Runtime: 1h 30min

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Roland Cassard (Michel) loses his job and randomly decides to give a young girl his dictionary due to her resemblance to his old friend Cécile (Aimée) – even sharing her name. By chance, he then runs into said friend, who now goes by the name Lola. And is a showgirl…

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Would you believe she both merengues and does the cha-cha..?

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Lola, now a single mother, is very happy to see her old friend, and the two go out to dinner before her show one evening. Roland finds out that despite not having heard from him in seven years, Lola is still hung up on her baby daddy Michel (Harden). While waiting for him to return, the dancer passes the time with American sailor Frankie, who also develops a strange and unhealthy relationship with Lola’s young lookalike Cécile (Duperoux), seeming destined to repeat history.

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The young girl is easy prey too – the only person invited to her birthday party was a random dude she had met only once and who her mother wanted to bang. Way to make a girl feel special.

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Roland falls for Lola and decides to make his unrequited love her problem by telling her about his feelings and being childish and mean when she rebuffs him. Because naturally it is her fault that he fell for her and she should feel bad about it.

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Perhaps Roland should practise reading body language instead of guilt-tripping women when they don’t love him?

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Lola is an interesting movie – the perspective switches between characters and goes off in all kinds of directions, while still telling the story quite efficiently. Lola is a bit simple, but sweet, and we loved how she was never apologetic about her work or her status as a single parent.

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Of course, she had nothing to apologise for, being a fabulous woman and great mother, but we have a feeling not everyone would have thought so, especially in 1961

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While we’re still unclear how their days worked (does Yvon go to night school? How on earth do they get so much done before school? And did Roland come to work late five times in three days???), Roland acted like a stereotypical “nice guy” with Lola, and we’re very worried about Frankie grooming the young Cécile, we absolutely enjoyed this movie and we can’t wait for what else Jacques Demy has in store for us. Also, we need Lola’s corset. And top hat.

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If you’re only going to own one outfit, make it a classic!

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What we learned: Never go with service men.

Next time: The Guns of Navarone (1961)

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#203 Zazie dans le Métro

Watched: October 8 2018

Director: Louis Malle

Starring: Catherine Demongeot, Philippe Noiret, Hubert Deschamps, Carla Marlier, Vittorio Caprioli, Yvonne Clech

Year: 1960

Runtime: 1h 33min

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Zazie (Demongeot), a charming ten-year-old precocious brat, is left with her uncle Gabriel (Noiret) in Paris for the weekend so that her mum can get some sexytime with her new lover.

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All you need to take over the world is a jaunty hat and absolutely no shame

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Zazie’s only goal for the weekend is to go on the metro, so she is less than impressed when it is closed due to a strike. On her first morning at her uncle’s place, she sneaks off to explore the city on her own and try to find an open metro, but instead she finds a very creepy stranger (Caprioli) and lots of trouble.

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We were surprised to find where we’ve gone wrong trying to attract guys…

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The creepy stranger may or may not be a paedophile, may or may not be a cop, and may or may not also be attracted to Zazie’s aunt and a merry widow they encounter on their adventures. It’s all a bit fuzzy and bewildering.

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We’re not sure if we ever got an explanation of the furry

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While we didn’t quite understand what was happening half the time, Zazie dans le Métro was a wild ride from start to finish. The visual comedy of it reminded us a bit of Hulot, and we loved the silliness of it all, although we’re pretty sure we saw a poor lady stabbed at some point. And there’s an attempted rape. And there’s a fairly big chance Zazie is a victim of abuse or a psychopath, judging from her reactions to people and events. Now that we think about it, are we sure this is a comedy..?

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Trust us – this girl has seen some shit!

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Still, we loved the cuts, the speeding up and slowing down of the film, the absurdity, the chaos and the colours, and the assortment of strange and unusual characters.

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Such as the dapper drag queen uncle who has a huge problem with other people’s personal hygiene

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There’s a reason this film keeps playing in film clubs and cinemas to this day, and it’s well worth catching. Enjoy a strange romp through an even stranger Paris!

What we learned: Not everything needs to make sense all the time. Sometimes you just have to enjoy the ride.

Next time: A Taste of Honey (1961)

#195 Shoot the Piano Player

Watched: August 26 2018

Director: François Truffaut

Starring: Charles Aznavour, Marie Dubois, Nicole Berger, Michèle Mercier, Albert Rémy

Year: 1960

Runtime: 1h 21min

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Charlie Kohler/Edouard Saroyan (Aznavour) is a piano player in a dive bar, but a former classical concert pianist. When his brother Chico (Rémy) seeks him out to shelter him from a couple of gangsters he’s pissed off, Charlie gets dragged back into the criminal family he’s avoided for years.

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“Just ran into the weirdest dude out there. Told me all about his marriage and his wife, completely unprompted. Oh, and also, I’m chased by some thugs and I need you to help me escape.”

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Simultaneously, the shy and slightly awkward musician strikes up a relationship with waitress Léna (Dubois), but the gangsters follow them one night and the couple are kidnapped. However, they get on surprisingly well with their kidnappers.

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Although not as well as Charlie gets on with his friendly neighbourhood prostitute next door

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They get out of that fix unharmed, but as the gangsters become more and more determined to use Chico’s family members to track him down, Charlie realises he must flee and leave his girlfriend behind. Lest she ends up like his first wife…

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“So, first there was the wife. That ended badly.” “How badly?” Well, she’s dead. Then there’s my neighbour Clarisse, but she’s more of a very good friend.” “How good?” “Oh, very, very good… But I swear I’m actually a good guy. Just very unlucky.”

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Shoot the Piano Player is very different from our last encounter with Truffaut, The 400 Blows. It’s a bit Noiry, with the flashbacks, the past the main character cannot escape, the general bleakness and the occasional voiceover narration.

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The trigger happy gangsters complete the picture (we loved them, although their casualness and easy conversation with their victims made them even scarier than your normal movie thugs)

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It’s often sad, dark and depressing, but there are some fantastic laugh-out-loud moments which help alleviate the whole affair somewhat. We’ve been missing the noirs a bit lately (there were so many of them for a while there!), so we really enjoyed this one. Worth watching for fans of French New Wave, Film Noir, thrillers, dramas, and Truffaut in general.

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Or fans of pianos. Or, indeed, people who hate piano players with a fiery vengeance.

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What we learned: Even super polite and likable kidnappers can be ruthless killers.

Next time: Spartacus (1960)

#190 Eyes Without a Face/Les yeux sans visage

Watched: August 4 2018

Director: Georges Franju

Starring: Pierre Brasseur, Alida Valli, Edith Scob, Juliette Mayniel, Béatrice Altariba

Year: 1960

Runtime: 1h 30min

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A woman dumps a faceless body in the middle of the night. The body is found and identified as Christiane Génessier (Scob) by her father, Doctor Génessier. Her face was destroyed in a car accident caused by the doctor and she is presumed to have killed herself.

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“Yes, yes, definitely my daughter. I would recognize her lack of face anywhere.”

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The body is buried and no one questions its identity, but what is the deal with all the missing girls in the area? The ones who resemble the presumably dead girl? The one with the ruined face and the surgeon father..?

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They’re certainly not having their faces removed and transplanted to Christiane. No siree!

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Doctor Génessier is riddled with guilt and hubris, and despite his daughter’s protests he’s trying to repair the damage he’s done, leaving in his wake a trail of faceless bodies. With the help of former patient Louise (Valli), he kidnaps young women, removes their faces, and tries to transplant them onto his own daughter who he keeps locked up in the house like the stray dogs he experiments on.

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At least the prisoners can take comfort in each other’s company

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We love everything about this film! The circusy music, the surgery shown in excruciating detail, the haunting mask and outfits of Christiane which make her look like a doll, and the ending with the gorgeous final shots – there’s nothing here not to love.

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She’s like the adorable ghost of a life-sized doll wandering about the mansion, bonding with animals Gothic Disney-princess style.

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Daddy is a giant douche whose pride is more important than the happiness of his daughter, even if he tells himself he’s doing this for her. Also, there’s some seriously shoddy police work going on – we mean, why would they send in Paulette (Altariba) for a consultation with the doctor without keeping an eye on her or instructing her to report back when she was discharged? Amateurs.

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“Yeah, this is what you get for shoplifting!”

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Terribly unprofessional police work aside, Eyes Without a Face is a haunting horror movie which should be on everyone’s to-watch list. It’s terrible and beautiful, and it reminds us of a twisted and dark fairytale. Love it!

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We prophesize a Disney remake

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What we learned: Looks aren’t everything.

Next time: La Dolce Vita (1960)

#189 Breathless/À bout de souffle

Watched: July 19 2018

Director: Jean-Luc Godard

Starring: Jean-Paul Belmondo, Jean Seberg

Year: 1960

Runtime: 1h 30min

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Michel (Belmondo) steals a car and sings and narrates his way towards Paris. The misogynistic crook ends up shooting a cop who catches up with him and is soon wanted all over France.

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“No worries. I’ll just don a hat and some shades and Clark Kent my way out of this mess”

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For such an unlikable man, Michel has a way with the ladies and manages to get some money out of one female friend before moving on to the main object of his desires, American journalism student Patricia (Seberg). He tries to convince her to run away with him while she tries to figure out how she feels about the man she spent a few nights with.

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“Eyes up here, tiger!”

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Michel wants to be a tough guy and he models himself on Humphrey Bogart. Patricia is also trying to figure out who she is – perhaps the Bonnie to his Clyde? With the police closing in, they are running out of time and decisions must be made. Who are they really?

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I-can’t-believe-it’s-not-Humphrey-and-Audrey

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Breathless is stylish and artsy, sometimes with a documentary feel to it, while other times it feels more like a romantic comedy or a noir. We love how cool it is, the breaks in the fourth wall, the cuts and close-ups, the opening line and Patricia’s gorgeous stripy clothes (really – she only wears stripes).

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With many to choose from, this dress remains our favourite

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It’s definitely a must-see for anyone with even a slight passing interest in French new wave cinema.

What we learned: Don’t fall for someone who generalizes about your gender every time you don’t do what they want.

Next time: Eyes Without a Face (1960)

#183 The 400 Blows/Les quatre cents coups

Watched: July 4 2018

Director: François Truffaut

Starring: Jean-Pierre Léaud, Claire Maurier, Albert Rémy, Patrick Auffay

Year: 1959

Runtime: 1h 39min

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Antoine Doinel (Léaud) is a pretty average kid. He lives with his self-centred mother (Maurier) and nice enough, but very strict, stepfather (Rémy) in a small apartment in Paris. He doesn’t do too well in school and occasionally gets in trouble, although his best friend René (Auffay) seems to be the instigator at least some of the time.

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“I’m thinking we should hire some hookers and then kill some puppies?” “Yeah, I was thinking more like skip school and go to the fair..?”

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After he’s caught skipping school and lying about his mother’s death to cover for it, Antoine runs away from home. It only lasts for a day or so though, but when his teacher later accuses him of plagiarising Balzac, Antoine runs away again. This time for a while, and with more serious consequences.

 

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“Copied” sounds so harsh. I prefer “inspired by.”

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Antoine is misunderstood and/or ignored throughout the film. None of the adults in his life take the time to listen to him, and his actions are very often misinterpreted and harshly punished, such as his homage to Balzac and his return of the stolen typewriter (which, granted, he did steal earlier).

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Considering the irony of being caught returning stolen goods…

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We loved The 400 Blows. While it’s a fairly tragic tale of a talented but misunderstood young boy who gets into all sorts of (quite serious) trouble, it’s not all bleak. We loved the P.E. sequence with the rapidly diminishing student body, the centrifugal carousel, the shrine to Balzac and the kids watching the puppet show.

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Not to mention the extremely disruptive students

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Without spoiling it, the ending is also (possibly) optimistic, with Antoine standing at several thresholds and between two chapters of his life. There are four more films made about the same character played by the same (wonderful) actor, and we’re tempted to make a night of it and watch them all. In about ten years when we’re done with everything on the list

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In case you were wondering, we do bring this amount of energy and enthusiasm to every single film screening. Every. Single. One.

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What we learned: Life is hard for kids. Also, parents have responsibilities beyond feeding their children.

Next time: Special Bonus Post! Oboy oboy oboy!!!

#163 Mon Oncle

Watched: January 8 2018

Director: Jacques Tati

Starring: Jacques Tati, Adrienne Servantie, Jean-Pierre Zola, Alain Bécourt

Year: 1958

Runtime: 1h 57min

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Our second encounter with Monsieur Hulot (Tati) was perhaps even more enjoyable than our first. Mon Oncle introduces us to his extended family: his sister, his brother-in-law, and his adorable nephew. Oh, and their dog, of course. Cannot forget the dog.

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So smart in his little waistcoat! Squeee!

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Hulot’s brother-in-law Charles Arpel (Zola) and sister Mme. Arpel (Servantie – who doesn’t even have a name in this) live in their ultra-modern and technologically advanced house Villa Arpel, where everything goes wrong on a regular basis. In addition to their fancy house, they have son Gerard (Bécourt) and the aforementioned dog, both of whom like to play with strays.

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“I’ll tell mother you followed me home. I’m sure she’ll let me keep you!”

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While the Arpel’s try to keep up appearances to their neighbours, colleagues and anyone who should happen to pass by, Gerard is disenfranchised by it all and loves spending time with his unassuming uncle. However, Charles thinks Hulot is a bad influence, and that he should get a proper job, a proper house, and a proper life. Like he has.

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“A proper house with a proper wife in a proper plastic house-cleaning dress and with a proper fish fountain in the front garden. Is that too much to ask?”

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However, when he tries to introduce Hulot to this life, everything goes very wrong. As expected by those of us who watched him on holiday earlier on.

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When even getting a glass of water requires an engineering degree, you know you’ve gone overboard with the tech

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There’s so much in this movie we loved! The opening credits, Mme. Arpel’s plastic house dress, the traffic moving in time with the music, the dogs, the hats (oh, the hats!), the slapstick, the hark back to the silent movie era (especially Modern Times), the trotting secretary, and the garden party populated by the worst kinds of people in the world.

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Did we mention the hats?

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It’s silly and wonderful, and thoroughly entertaining. Have fun!

What we learned: We need to up our hat game!

Next time: The 7th Voyage of Sinbad (1958)

#162 Elevator to the Gallows/Ascenseur pour l’échafaud

Watched: January 20 2018

Director: Louis Malle

Starring: Jeanne Moreau, Maurice Ronet, Yori Bertin, Georges Poujouly, Jean Wall

Year: 1958

Runtime: 1h 31min

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Foreign Legion veteran Julien Tavernier (Ronet) and his lover Florence Carala (Moreau) have a diabolical plan: they will kill Florence’s husband, who just so happens to be Julien’s boss, and make it look like a suicide. The plan is good (you know, in an evil way) and goes smoothly until Julien forgets to get rid of a key piece of evidence.

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Strangely enough, considering his 74-a-day habit, it was not a DNA-riddled cigarette, but an innocent rope

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When Julien tries to retrieve the rope hanging from the murdered man’s window, his timing couldn’t be worse and he ends up stuck in the elevator for the night when the power is turned off.

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“Dammit! I shouldn’t have had that extra croissant for lunch. Now I won’t be able to squeeze out until I’ve worked it off.”

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Florist Véronique (Bertin), who works across the street, and her crook boyfriend Louis (Poujouly) take this opportunity to steal Julien’s car and go on their own spree, which also ends in murder. One in which Julien becomes the main suspect as Louis stole his identity as well as his sweet ride.

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“Fret not, my dear. It’s just a bad day. Who hasn’t had one of those days where they’ve stolen several cars and killed German tourists? It’ll all blow over soon.”

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Meanwhile, Florence wanders the streets of Paris searching for her now MIA lover she thinks she saw driving off in his car with another woman. Her internal dialogue is not happy about this.

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She’s in the ultimate sexy French depression

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We loved everything about this movie. It is visually stunning and fantastically scored with music by Miles Davis. Despite the fact that Julien committed his very own murder, we kept hoping that pretentious douchebag Louis would be arrested to clear Julien of killing the extremely happy German tourist, and the suspense kept us on the edges of our seats.

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That, and Jeanne Moreau’s various depressed faces

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All the characters are horrible people, and yet we were enthralled by the story and very invested in the ending. Definitely a must-watch!

What we learned: Divorce was invented for a reason, people. Use it!

Next time: Mon Oncle (1958)

#132 Rififi/Du rififi chez les hommes

Watched: September 3 2017

Director: Jules Dassin

Starring: Jean Servais, Carl Möhner, Robert Manuel, Janine Darcey, Jules Dassin, Marie Sabouret, Marcel Lupovici, Magali Noël

Year: 1955

Runtime: 1h 58min

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Tony le Stéphanois (Servais) is a retired crook with health problems who just spent five years in prison after taking the fall for friend Jo (Möhner). The two meet mutual friend Mario (Manuel) for coffee and crime planning, although Tony is getting too old for this shit.

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Guess which one has expressed some doubt about the scheme

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Tony respectfully declines, but when he learns ex-girlfriend Mado (Sabouret) is back in town and smooching it up with gangster Grutter (Lupovici) he signs up, after giving her a savage beating.

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The first look at Tony’s dark side. And trust us – it’s dark!

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The trio bring in Italian safe cracker César (Dassin) and start planning the perfect heist – the nighttime robbery of a jewellery shop. The crime itself goes off (almost) without a hitch, until César can’t help himself but steal an extra piece of jewellery for his lover Viviane (Noël).

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After all that planning and suspense, a guy thinking with his dick screws it up. Men just aren’t cut out for this kind of work.

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Grutter figures out who’s behind the incredible heist and comes after them. As he threatens Jo’s family, Tony utilizes his dark side for good and goes after the ruthless gangster.

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Pictured: not a guy you want to mess with

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Rififi is basically the ultimate heist movie; it is stylish and cool with a great cast of characters and an extremely exciting robbery. We absolutely loved the song and dance routine with the silhouettes, as well as the planning phase. However, the long silent scene during the robbery, which is probably the longest silent part of a film that’s not a pre-talkie we’ve ever seen, was by far our favourite. So suspenseful!

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There’s just so much style in this film!

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Also, we were giddily happy to see that the decorative lampshade finally served a purpose. It’s like all the Noirs we’ve watched so far have been leading up to this moment. What a payoff.

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To the right: multi-purpose decorative lamp. Finally!

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What we learned: How much work actually goes into a perfect crime. Also, don’t stray from the plan and get greedy. Or think with your dick.

Next time: The Big Combo (1955)

#128 Diabolique/Les diaboliques

Watched: August 7 2017

Director: Henri-Georges Clouzot

Starring: Simone Signoret, Véra Clouzot, Paul Meurisse

Year: 1955

Runtime: 1h 57min

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Christina Delassalle (Clouzot) and Nicole Horner (Signoret) are colleagues at a boarding school for boys somewhere in France, but that’s not all they have in common. They are also involved with the same man – Christina’s tyrannical bastard of a husband Michel (Meurisse).

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“It’s always more fun to share with everyone”

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Michel does not only mistreat his poorly (but wealthy) wife – he is also abusive to his mistress and the children in the school. Fed up with him, Nicole concocts a murderous plan to rid the two women of their shared lover. Christina is hesitant at first, but after her husband humiliates her and rapes her, she has finally been pushed too far.

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Not what most men have in mind when they picture being bathed by two women

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They go through with their plan, but the already mentally and physically fragile wife is quickly deteriorating from the stress and the guilt. Then, the body disappears, freaky stuff starts happening and things turn creepy.

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Artist’s representation of us watching this film

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Diabolique is very, very creepy and suspenseful. Michel is extremely unlikable and we’ve never wanted two people to get away with murder more than in this case. This film kept us guessing to the end (although we had a theory which turned out to be spot on) and there are a lot of exciting twists and turns in the plot.

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The look of a woman mentally preparing for murder

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We won’t say much more as we do not want to spoil this gem for anyone, but if you haven’t seen it, it should go to the top of your to-watch list. So good.

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What we learned: If you’re going to murder someone, make sure you know how to play it cool.

Next time: It’s Always Fair Weather (1955)