Lily in Wonderland

Lily (Cathryn Harrison) flees a global conflict and finds refuge in a mysterious country estate in the 1975 fantasy BLACK MOON, which is partly inspired by Lewis Carroll’s ALICE IN WONDERLAND.

Louis Malle has never been the sort of filmmaker critics could easily pigeonhole in terms of his style and interests. He’s worked in practically every film genre (thriller, social satire, melodrama, documentary, etc.) and his restless curiosity has led him to explore a vast array of subjects from underwater life (The Silent World, 1956) to sexual liberation (The Lovers, 1958) to life under the Nazi occupation (Au Revoir, Les Enfants, 1987). Yet, for even an iconoclast like Malle, his 1975 film Black Moon is unlike anything he’s ever done before or since. “Opaque, sometimes clumsy, it is the most intimate of my films,” he once said. “I see it as a strange voyage to the limits of the medium, or maybe my own limits.” 

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Beneath the Mediterranean, the Red Sea and the Indian Ocean

The French film poster for THE SILENT WORLD (1956), Jacques Cousteau’s first feature length documentary.

Jacques-Yves Cousteau was undoubtedly one of the greatest explorers of the 20th century but what he discovered was a world most people had never seen before and it was hiding in plain sight under the ocean. His scientific innovations to deep sea diving and his never-before-seen underwater cinematography introduced most people to marine life, behavior and landscapes that were just as strange, beautiful and mysterious as life on another planet. Although he had made numerous short documentaries on the sea throughout the forties starting with Par Dix-huit Metres de Fond in 1943, it was feature length non-fiction film debut, The Silent Sea (Le Monde du Silence, 1956), co-directed with Louis Malle, that first attracted international attention and inspired school kids to want to become explorers, photographers and oceanographers. Seen today, the film is still a fascinating introduction to Cousteau’s world but, like some nature documentaries, it presents images of unearthly beauty mixed with cruelty and violence that wouldn’t be out of place in a Mondo Cane-like exploitation expose. It also presents a more pristine world under the sea before oil spills, global warming and overfishing helped reduce marine life as well as eradicating entire species of fish. 

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Georges Franju & Jean Cocteau: Thomas the Impostor

World War I has been the subject of some of the most powerful and prestigious films in cinema from King Vidor’s The Big Parade (1925) and Lewis Milestone’s All Quiet on the Western Front (1930) to Stanley Kubrick’s Paths of Glory (1957) and more recently, Sam Mendes’ 1917 (2019), nominated for ten Oscars including Best Picture. All of those films captured the grim horrors of the battlefield, the demoralization and death toll of the troops and the often reckless or unnecessary military strategies of commanding officers. Going against the grain is Thomas l’imposteur (Thomas the Impostor), based on Jean Cocteau’s 1923 novel which was inspired by his own experiences during WW1 as an ambulance driver for the Red Cross. Directed by Georges Franju from a screenplay by himself, Cocteau and Michel Worms, the 1965 film views war through the experiences of two idealistic dreamers, one an aristocrat, the Princess de Bormes (Emmanuelle Riva), the other an orphan (Fabrice Rouleau), who lies about his age and invents a fake backstory for himself so he can enlist. The result is a unique take on the Great War which combines the ambiance of a dark fairy tale with a realistic but emotionally detached approach to the events as they affect the two main protagonists.

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Lee Marvin in Canicule

As a big Lee Marvin fan, I have seen a large amount of his work on TV and the screen, even many of the early roles in the fifties when he was an unbilled bit player or an extra in such films as the war drama Teresa (1951) or the suspense thriller Diplomatic Courier (1952). As he moved into larger supporting roles, usually playing the heavy, he often became the most electrifying presence in the film, whether it was a noir (The Big Heat, 1953), western (Gun Fury, 1953) or drama (The Wild One, 1953). But he really hit his stride in the early sixties starting with his fearsome gunslinger in John Ford’s The Man Who Shot Liberty Valance (1962) and moving into starring roles with a string of iconic performances in The Killers (1962), Cat Ballou (1965), a dual role which won him the Best Actor Oscar, Ship of Fools (1965), The Professionals (1966), The Dirty Dozen (1967) and the cult favorite Point Blank (1967). Nobody, however, even Marvin himself, could have predicted that one of his final movies would be made in France with an international cast and the result – Canicule (English title: Dog Day, 1984) – is certainly one of the oddest films of his career, if not the most eccentric.

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Under Surveillance

Raphael (Jean-Louis Trintignant) is a secret operative who is monitoring the daily life of a suspected Nazi war criminal in UN HOMME A ABATTRE (A Man to Kill, 1967).

We will probably never know the exact number of Nazi war criminals who escaped from Germany in the aftermath of WW2 and made their way to South America but some of the more infamous ones are Adolf Eichmann, who was later captured in Buenos Aires, brought to trial in Israel and executed in 1962, and Josef Schwammberger, who was arrested in Argentina and returned to West Germany for a trial in 1992 (he was sentenced to life in prison and died there). At the same time, there have been reports that as many as 9,000 Nazi officers and collaborators found a safe haven in countries like Brazil and Paraguay under new identities and were never arrested for their war crimes. This unsettling realization inspires the narrative of Philippe Condroyer’s A Man to Kill (French title: Un Homme a abattre, 1967), a fictional espionage thriller that focuses on a suspected concentration camp officer who resurfaces in Barcelona years later as a low profile German architect.

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Deadpan Lunacy

Amid the avalanche of overproduced and overmarketed films that flooded movie theaters in the summer of 2006 (Poseidon, Miami Vice, Lady in the Water and Snakes on a Plane to name a few), a gallic import flew in under the radar and delighted any moviegoer willing to give in to its droll sense of humor and fond appreciation of the spy thriller genre of the sixties. OSS 117: Cairo, Nest of Spies was a huge box-office hit in France and Europe but it barely lasted a week in many of its U.S. playdates.

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Robert Bresson’s Parisian Reverie

The French film poster for FOUR NIGHTS OF A DREAMER (1971), directed by Robert Bresson.

One wouldn’t normally associate Robert Bresson with such rapturously romantic, Paris-based films as Ninotchka, An American in Paris, Funny Face, Gigi, and Love in the Afternoon yet Four Nights of a Dream (Quartre Nuits d’un Reveur, 1971) is probably the closest the French director has ever come to making a film about love, longing and desire. You could even say it is almost a musical since strolling street musicians occasionally break into song at unexpected moments in the narrative.

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Terence Stamp is Timeless

Time travel has been explored in countless science fiction novels and movies over the years but it is not often treated in such an abstract and ethereal manner on screen as it is in Hu-Man, a 1975 French film from director Jerome Laperrousaz. Except for popping up at a few film festivals in the seventies, Hu-Man went missing for years and was assumed to be lost until clips from it appeared in 1998 on the BBC interview series Scene by Scene, hosted by Mark Cousins. Terence Stamp, the star of the film, was the subject of a career retrospective and Cousins was particularly interested in asking Stamp about some of the more challenging and unusual roles in his filmography such as Hu-Man.

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A Madcap Chase Across Brazil

On September 6, 2021, France lost one of their biggest cinema icons of the 20th century with the death of Jean-Paul Belmondo at age 88. The actor attained international fame in 1960 for his charismatic performance in Jean-Luc Godard’s Breathless as an amoral car thief on the lam. He was the epitome of bad boy cool in that film and would enhance that screen persona in other crime dramas like Claude Sautet’s Classe Tous Risques (1960) and Jean-Pierre Melville’s Le Doulos (1962). Then, Belmondo reached an even wider international audience with the cross-over commercial hit, That Man from Rio (1964), which was even more accessible to the average moviegoer than Breathless, especially in America.

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French Twists

Marina (Romy Schneider) and Claude (Gabriele Tinti) have a violent argument after leaving an inn in the French countryside. A pistol is fired, Claude roughs up his girlfriend and the couple speed off in a convertible. The car leaves the main road and races along the cliffs of the Brittany coastline until it plunges over a ledge into the sea below with Claude at the wheel. Among the hillside rocks, we see Marina, who miraculously escaped from the car and is the only witness at the scene. All of this unfolds under the opening credits of Qui? (1970), a rarely seen French film which offers some odd twists and turns in its brisk 73-minute running time (In some regions it was released under the title The Sensuous Assassin, which is completely misleading in regards to the actual storyline).

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