If you went by title alone, Alain Jessua’s Jeu de Massacre (released as The Killing Game in the U.S. and as Comic Book Hero in other territories) suggests it might be a murder mystery or a James Bond-like spy thriller which was still in vogue at the time of the film’s release in 1967. Instead, the film is a witty black comedy about the addictive power of pulp fiction – in this case, a superhero comic book – to ignite dangerous fantasies in readers whose grasp on reality is fragile. Continue reading
In 1974 very few people outside of France knew anything about Philippe Garrel, an experimental filmmaker who had first attracted attention in Parisian film circles with his 1964 fifteen minute short, Les Enfants Desaccordes (1964). Decidedly non-commercial, Garrel’s abstract, often autobiographical ruminations on disenfranchised youth and the vagaries of romantic love appealed to a fringe group of European cinephiles. But Les Hautes Solitudes, which was first screened in Paris in December 1974, raised Garrel’s profile considerably due to the film’s cast which included model/actress/singer Nico (formerly of The Velvet Underground) and current companion of Garrel, French stage and screen star Laurent Terzieff, the stunning Tina Aumont (daughter of Maria Montez and Jean-Pierre Aumont and, most notably, American actress Jean Seberg, who had reinvented her screen career in France with Jean-Luc Godard’s Breathless (1960). Continue reading
Films that explore mental illness, especially Hollywood productions such as The Snake Pit, The Three Faces of Eve and A Brilliant Mind, usually tend to be heavy on the histrionics providing highly dramatic showcases and Oscar award opportunities for actors. But a descent into madness isn’t always signaled by wildly disruptive or overwrought behavior from the afflicted. Sometimes the illness can creep up slowly by degrees and pass for something more fleeting and subtle that avoids detection during the early stages. Life Upside Down (La vie à l’envers), directed by Alain Jessua, is a remarkable example of this, presenting a man who goes quietly mad while interpreting his erratic behavior as a profound new self-awareness. Continue reading
When you’re a film actor, it’s easy to understand how one can obsess over some less than perfect facial or physical feature that is going to be magnified by the camera on the big screen. But in most cases these fears are usually unfounded and not even something the average moviegoer would notice or care about. Claudette Colbert and Jean Arthur both insisted on being shot from the left side for profiles; Colbert called the right side of her face “the dark side of the moon.” Fred Astaire used movement and positioning to distract people from what he felt were his unusually large hands and Bing Crosby dealt with his increasing baldness by wearing hats at all times (he refused to wear toupees). Orson Welles’ insecurity over the size of his nose, however, is probably the most baffling of the actor hangups I’ve read about.
*This is a slightly revised version of my post that originally appeared on TCM’s Movie Morlocks blog Continue reading
There is a popular misconception these days that almost any movie you want to see is available for streaming or viewing somewhere in cyberspace but that simply isn’t true. Thousands of films go missing, become inaccessible or go into distribution purgatory as the years pass and they become forgotten in time. Birds in Peru (aka Birds Come to Die in Peru) would probably be forgotten too if it hadn’t received such scathing reviews upon its original release in 1968. Continue reading