Edmond Ardisson Movies

Woody Allen's Love and Death is purportedly a satire of all things Russian, from Leo Tolstoy and Fyodor Dostoyevsky novels to Sergei Eisenstein films, but it plays more like a spin on Bob Hope's Monsieur Beaucaire. Allen plays Boris, a 19th century Russian who falls in love with his distant (and married) cousin Sonja (Diane Keaton). Pressed into service with the Russian army during the war against Napoleon, Boris accidentally becomes a hero, then goes on to win a duel against a cuckolded husband (Harold Gould). He returns to Sonja, hoping to settle down on the Steppes somewhere, but Sonja has become fired up with patriotic fervor, insisting that Boris join a plot to kill Napoleon. Intellectual in-jokes abound in Love and Death, and other gags are basic Allen one-liners; for instance, after being congratulated for his lovemaking skills, Boris replies nonchalantly, "I practice a lot when I'm alone." The pseudo-Russian ambience of Love and Death is comically enhanced by the Sergey Prokofiev compositions on the musical track. ~ Hal Erickson, Rovi

Jean Renoir's last completed work was this made-for-television effort, comprised of three short films along with a musical interlude courtesy of Jeanne Moreau. Included are The Last Christmas Dinner, The Electric Floor Waxer and A Tribute to Tolerance. ~ Jason Ankeny, Rovi

In this WWII comedy, a French POW escapes and hides at an inn. After the war, he stays at the inn to help the innkeeper, whom he has become involved with, rather than return to his wife. When the innkeeper's husband shows up ten years later, the POW goes back to his wife, whom he finds married to the chef at the cafe he ran. His wife refuses to sleep with the chef until a divorce is granted. The chef returns home to Normandy, thinking that he is out of luck, but the POW follows him and tells him that if he takes responsibility for his wife and the cafe, he will grant the divorce. The POW's loneliness is relieved when the innkeeper tells him that her husband has gone to Siberia and they are free to get married. ~ Steve Huey, Rovi

Perhaps because its American distribution was brief, Le Printemps, L'Autumne et L'Amour is one of the lesser-known Fernandel vehicles. The lantern-jawed comedian plays a confirmed middle-aged bachelor, whose life is radically altered when he rescues 18-year-old Nicole Berger from drowning. Out of gratitude, the girl marries Fernandel, but predictably the union is far from satisfactory. Complications arise when Berger falls in love with Phillipe Nicaud, a boy closer to her own age. If one must have a May-December drama, better one with Fernandel than those overheated Hugo Haas-Cleo Moore extravaganzas. ~ Hal Erickson, Rovi

French novelist-turned-film director Marcel Pagnol made this black and white feature in 1953, He later wrote a novel based on his original script, which in turn was the source material for two much better known films made by director Claude Berri in 1986 - - Jean de Florette and Berri's own version of Manon des sources. Released uncut for the first time in 1988, Pagnol' s feature has a hefty running time of over four and a half hours. The story concerns the efforts of the beautiful shepherdess Manon Cadoret (played by the director's wife Jacqueline Pagnol) to avenge the death of her father Jean de Florette. The chief culprit in that death is a hapless peasant (played by veteran Marseilles comic Rellys), who, sadly, is desperately in love with Manon. Manon's revenge involves cutting off the town's water supply, drawing the wrath of the villagers. Her only ally is the town's somewhat haughty schoolteacher (Raymond Pellegrin), who she eventually marries. The action of this film corresponds roughly to Berri's version of Manon des sources. His Jean de Florette focused on events surrounding the father's death, which is here covered mostly in dialogue. ~ Clarke Fountain, Rovi