Annette Wademant Movies

Director Jean Eustache has included two identical stories told in contrasting ways in this very short festival feature. In the story, a young man who has heard that a hole in the men's room wall will allow him to see into the women's bathroom finds the tale very exciting. Even the fact that he has to lie face down on the men's room floor to see into the ladies' side does nothing to deter him. The first version is as told by an actor to a film director and his friends, and it initiates a philosophical discussion on the meaning of sexual excitement (and related issues). The tale is then acted out by Jean Noel Picq. ~ Clarke Fountain, Rovi

This plodding and uneven story finds a young doctor visiting his father in Morocco. He discovers his estranged parent, who he has not seen since childhood, is re-married with a young son. The young medico has a fling with a pretty French girl before he returns home to his girlfriend after the reunion. He forgives his father for leaving him at such a young age in this pretentious film that fails to bridge the generation gap. ~ Dan Pavlides, Rovi

The French omnibus feature Tales of Paris is made of four separate romantic playlets, each with its own cast, director, and scenarist. "The Tale of Ella," directed by Jacques Poitrenaud, stars Dany Saval as an ambitious nightclub performer who very nearly messes up her chances for success by bullying a mild-looking but important producer. "The Tale of Antonia," directed by Michel Boisrond, finds housewife Dany Robin exacting a sweet revenge on her cheating husband. "The Tale of Francoise," directed by Claude Barma, concerns the efforts of Francoise Arnoul to test the fidelity of her best friend's lover. And "The Tale of Sophie," directed by Marc Allegret, features Catherine Deneuve as a goody-two-shoes who fabricates a torrid romance in order to be accepted by her sexually knowledgeable schoolmates. ~ Hal Erickson, Rovi

This slight comedy-mystery is another late '50s vehicle for Brigitte Bardot who repeats her sex-kitten persona with ease. She plays Virginie, an instructor at a dance studio that one day is hit with a tragedy -- the owner of the studio is murdered. That is bad enough, but to make matters worse, Virginie's husband has been accused of the crime. She knows he could not be the killer and so she sets out to prove his innocence to the police, and maybe find the real culprit at the same time. ~ Eleanor Mannikka, Rovi

Variously titled La Parisienne and Une Parisienne, Parisienne, this Franco-Italian co-production is one of Brigitte Bardot's best vehicles. The daughter of the Premier of France (no, not DeGaulle!), La Bardot is married to Henri Vidal, the premier's chief aide. When Vidal shows signs of straying from his marital vows, Bardot decides to fight fire with fire. She enchants visiting nobleman Charles Boyer, who invites her to a romantic rendezvous on the Riviera. The outraged Vidal tracks down the would-be lovers, only to discover that nothing has happened-both Bardot and Boyer fell victim to head colds, and spent the weekend sneezing rather than smooching. ~ Hal Erickson, Rovi

Max Ophuls' final film (and his only movie in color) is a cinematic tour-de-force masquerading as a biography, in this case a dazzling fictionalized life of the notorious 19th century dancer, actress, and courtesan. A still beautiful, but weary and disillusioned (and, as we later discover, ailing) Lola Montes (Martine Carol) is first seen as the featured attraction at a seedy American circus, appearing at the center of a series of various tableaux depicting the scandalous events for which she is known. With a strangely sincere yet sinister and manipulative ringmaster (Peter Ustinov) providing color commentary, some of it very ironic on two or more levels, the movie flows between these staged recreations in the circus and the events as recalled by the subject. In a series of dissolves, the film takes us through her girlhood with her mother, interrupted when her mother's lover (Ivan Desni) becomes attached to the daughter; her unhappy marriage and its aftermath; romances with composer Franz Liszt (Will Quadflieg), abduction by a Russian general (in the arms of Cossacks, no less); her affairs across the landscape of Europe with men great and notable; her thwarted aspirations as a dancer; and her romance with King Ludwig I (Anton Walbrook) of Bavaria, which led to her being made Countess of Landsfeld, and, later, to his abdication. The gracefulness of Ophuls' cyclical narrative, and the transitions between the recalled elegance of the locales, and the people with whom her romances and affairs took place, and the seediness of the circus -- where she is also compelled, in the course of performing, to perform as an aerialist -- were lost on viewers in 1955. And for many years the movie only existed in a version re-cut without the director's approval, in which the story was presented in linear fashion. It was only in the 1960's, long after Ophuls' death, that efforts were made to restore the original structure, and in 2008 the movie's original Technicolor luster was restored to its full depth and richness. ~ Bruce Eder, Rovi

Max Ophüls' masterpiece stars Danielle Darrieux as the titular Madame Louise de..., who in the film's opening scenes is forced to discreetly sell a pair of earrings, a gift from her military officer husband Andre (Charles Boyer), in order to make good on her debts. After she claims the earrings to be lost, the story of their possible theft hits the newspapers, prompting the jeweler who bought them (Jean Debucourt) to secretly sell them back to Andre, who then gives him to his mistress Lola (Lia Di Leo) as she prepares to leave for a holiday in Constantinople. There, the earrings again change hands as Lola pawns them to cover her gambling losses. They are then purchased by Donati, an Italian diplomat (Vittorio de Sica) on his way to France to meet with Andre. Of course, the earrings soon find their way back to Louise. ~ Jason Ankeny, Rovi

French filmmaker Jacques Becker's Edouard et Caroline has been described as a film without a story. This isn't quite true, though the most memorable aspect of the film is the byplay between the two title characters. Edouard (Daniel Gelin) is a young, headstrong musician. Caroline (Anne Vernon) is his flibbertigibbet spouse. The two quarrel over an evening dress, they separate and then reunite. These farcical proceedings are counterpointed by Becker's naturalistic choice of settings, including Eduoard and Caroline's less-than-fashionable apartment and the prison-like confines of Caroline's uncle's mansion. ~ Hal Erickson, Rovi