Resistance Begins at Home

In 1940 after France had fallen to the German army, journalist Jean Bruller and his wife, who lived outside Paris, were forced to share their home with a Nazi officer for an extended period of time. That experience inspired Bruller to write the novella Le Silence de la Mer (The Silence of the Sea) under the pseudonym Vercors. The book was secretly published in late 1941 and became known as “the first underground book of the occupation.” It also became an inspiration to the French Resistance in its depiction of using silence as a weapon against the enemy when no other option was possible. It might seem like an unusual choice for French director Jean-Pierre Melville’s feature film debut when you consider that he is mostly famous for his crime and gangster thrillers like Bob le Flambeur (1956), Le Deuxieme Souffle (aka Second Wind, 1966) and Le Samourai (1967). Then again, many consider Melville’s 1969 WW2 drama L’armee des Ombres (aka Army of Shadows) about French underground fighters in Nazi-occupied Paris his masterpiece. Add to this the fact that Melville was also an active member of the French Resistance and The Silence of the Sea makes perfect sense as his feature debut.

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Moving Target

French director/screenwriter Edouard Molinaro may not be a household name in America but practically everyone knows his international breakout hit, La Cage aux Folles, from 1978.  It spawned an equally successful sequel, La Cage aux Folles II (1980), but also became the basis for the smash Broadway musical La Cage aux Folles in 1984 and eventually was remade by director Mike Nichols as The Birdcage in 1996 with Robin Williams, Nathan Lane, Gene Hackman and Dianne Wiest. La Cage aux Folles was no fluke success and Molinaro was already renowned in France for his film comedies such as Male Hunt (1964) with Jean-Paul Belmondo, Oscar (1967) featuring Louis de Funes and the black farce A Pain in the…(1973), which was remade by Billy Wilder as Buddy Buddy (1981). None of this would lead you to believe that Molinaro launched his feature film career with several film noir-influenced thrillers and Un temoin dans la ville (English title: Witness in the City, 1959) is a near masterpiece, deserving to stand alongside Louis Malle’s Elevator to the Gallows (1958), Claude Sautet’s Classe Tous Risques (1960) and Jean-Pierre Melville’s Le Doulos (1962).   Continue reading

Two Cats and a Mouse

When a movie is released under various titles it usually means there are problems. It could be confusion over how to market it or a simple case of a movie that doesn’t fit clearly into any designated genre or maybe it’s a star-driven, major studio release that’s too quirky for the average moviegoer but yields enough curiosity value to inspire various promotional approaches to finding the right audience. All of these could apply to Joy House (1964), an international production based on a pulp fiction paperback by American author Day Keene and filmed on the Riviera near Nice. It stars English-speaking (Lola Albright, Jane Fonda, Sorrell Booke, George Gaynes of Tootsie fame) and French-speaking actors (Alain Delon, Andre Oumansky, Annette Poivre, Marc Mazza) and is also known as The Love Cage and Les Felins (the original French title). Joy House was not a popular success at the time (most critics were unkind in their coverage) but it is a favorite film of mine, flaws and all.   Continue reading