Robert Vattier Movies
- 1972
This French thriller is based upon a theory about the conspiracy to assassinate President Kennedy. The story begins as a reporter is informed that one of his friends may have been shot by two gunmen in an American car. The reporter goes out looking for his friend, who did not die after the shooting. Along the way he is shot at and beaten up. This does not deter the intrepid journalist who keeps getting closer to the truth. Eventually he learns that the Euro-Mafia and the French Secret police are involved in the shooting. The reporter then encounters an American who tries to dissuade him from pursuing the mystery because it is far too complex to really know the truth. ~ Sandra Brennan, Rovi
- 1961
Jean Gabin carries this conventional political drama set in pre-World War II France. He is Emile, a retired politico with a long memory, a curmudgeon who is not yet prepared to stand on the sidelines and watch others wield power. Flashbacks fill in the details about his earlier career -- and why he wants to block the new cabinet proposed by a politician he knew in his former days of government service. A bit long at almost two hours, director Henri Verneuil worked often enough with Gabin in his films to elicit a strong portrayal. ~ Eleanor Mannikka, Rovi
- Starring:
- Jean Gabin, Bernard Blier, (more)
- 1960
Victor (Jean-Pierre Cassel) and Suzanne (Genevieve Cluny) are a couple at odds about commitment in this light, fast-paced comedy-drama by Philippe de Broca. Suzanne needs more reassurance from Victor about the future of their relationship. He is a painter with an inspired creative side who finds it difficult to understand Suzanne's point of view. They are happy together; what is the problem? So when a friend comes into the picture and proposes to Suzanne, Victor suddenly realizes that Suzanne was right. Without a formal commitment, the suddenly insecure man does not like the view from the opposite shore. ~ Eleanor Mannikka, Rovi
- Starring:
- Jean-Pierre Cassel, Geneviève Cluny, (more)
- 1954
Letters from My Windmill (Les Lettres De Mon Moulin) was adapted by French-filmmaker Marcel Pagnol from three short stories by Alphonse Daudet. The first, "The Three Low Masses," involves a clergyman whose taste for gourmet foods leads him to confrontation with Satan. "The Elixir of Father Gaucher" tells of a group of monks who deal in homemade wines and spirits to replenish their church coffers. And "The Secret of Master Cornille" is the story of businessman's harmless ruse which snowballs into near-tragedy. Roger Crouzet plays Alphonse Daudet, who repairs to a deserted windmill to write the three stories dramatized herein. The US prints of Letters from My Windmill contain subtitles written by Hollywood expatriate Preston Sturges. ~ Hal Erickson, Rovi
- Starring:
- Roger Crouzet, Robert Vattier, (more)
- 1952
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
- Starring:
- Jacqueline Pagnol, Raymond Pellegrin, (more)
- 1950
In this comedy, a charming (at least he thinks so) king comes to Paris to sign a treaty and quickly learns more about French customs and temperament than he ever wanted to. When the senator he has come to see learns that the king is interested in his wife and mistress, the conniving fellow arranges it so he can have both of them. Following the signing of the treaty, the king, dreadfully pleased with himself, returns to his home. ~ Sandra Brennan, Rovi
- 1950
An exercise in style, La Ronde was one of the few films of the 1950s to contain overtly sexual themes. The story is a series of character vignettes, set in Vienna in the early 1900s and held together by a narrator (Anton Walbrook). As the title implies, both the story and the film's visual motifs are circular. Director Max Ophuls uses an old-fashioned merry-go-round to foreshadow the film's events, in which each segment introduces a new character, who has an affair with a character from the previous scene. The film demands that the audience pay attention to the structure, to the interplay among the characters, and to the opulent visual elements; and the effect is synergistic delight, in which the viewer is engaged both visually and intellectually. Because it was filmed in black-and-white, La Ronde does not have the garish look of some of Ophuls' other films, notably Lola Montès. La Ronde is among the few foreign language films to receive multiple Oscar nominations, for Black & White Art Direction and Best Adapted Screenplay. ~ Richard Gilliam, Rovi
- Starring:
- Anton Walbrook, Simone Signoret, (more)
In their very last feature film, Stan Laurel and Oliver Hardy travel to London so that Stan can claim his uncle's inheritance. All of the cash has been eaten up by taxes, but at least Stan is able to claim a tax-free island and yacht that his uncle has left him. Boarding the yacht (actually a run-down tub) in Marseilles, Stan and Ollie set sail for their island in the company of stateless refugee Max Elloy, who signs on as a cook, and Italian bricklayer Adriano Rimoldi, a stowaway. The little party is nearly torn to bits by a storm at sea, but the yacht runs safely aground on a newly formed atoll. Its population is increased to five when nightclub singer Suzy Delair, fleeing her domineering naval-officer fiancé Luigi Tosi, takes refuge with the other castaways. Laurel & Hardy and their friends live an idyllic, Robinson Crusoe-like existence until Delair's fiancé shows up. He announces he hasn't come to claim her, but to investigate reports that the atoll is rich with uranium. Indeed it is, and soon every nation in the world is clamoring to claim the island's radioactive deposits. Laurel and Hardy take quick action, declaring sovereignty over "Crusoeland." They then devise an anarchic government over which Ollie presides. Stan is relegated to the position of "The People." Comical chaos reigns when their "no laws, no taxes" policies attract the attention of various unsavory types, including rabble-rouser Michael Dalmatoff. Filmed over a period of 12 months, this expensive Franco-Italian co-production suffers from a too-complex plot, lazy direction, poor voice-over dubbing of the largely European supporting cast, and especially the horrible physical condition of Laurel, who was suffering from several life-threatening illnesses during filming. Fortunately, he regained his health after the production wrapped, as proven by his hale-and-hearty appearance on a 1954 installment of TV's This Is Your Life. Though some disciples of Laurel and Hardy will have a great deal of difficulty sitting through Atoll K, it does contain a few isolated moments of pantomimic brilliance and first-rate sight gags. Originally running 98 minutes, Atoll K was judiciously pruned down to 82 minutes for its English-language release. In Great Britain, the film was titled Robinson Crusoeland, while it was released as Utopia in America. ~ Hal Erickson, Rovi
- Starring:
- Stan Laurel, Oliver Hardy, (more)
- 1943
Despite the exigencies of the Nazi occupation of France, veteran filmmaker Maurice Tourneur managed to turn out a classic psychological horror film, La Main du Diable (The Devil's Hand). A variation of the Faust legend, the film's "Mephistopheles" is a smarmy Vichy-government civil servant, brilliantly played by Palau. When struggling artist Pierre Fresnay sells his soul, Palau binds the bargain by giving the artist a severed, withered, yet "living" human hand. Years later, Pierre, on the verge of death, is forced to learn the identity of the man from whom the hand was stolen, lest he burn in eternal damnation. The film's highlight is a nocturnal gathering of all the previous owners of the hand who unfold their tales of woe to the beleaguered Pierre. Eventually, the hand is returned to its rightful owner, an ending that is at once happy and tragic. Like most of Tourneur's best works, The Devil's Hand is far better seen than described (prints are available, though most are in deplorable condition). Completed in 1942, the film finally made it to the U.S. several years later. ~ Hal Erickson, Rovi
- Starring:
- André Bacque, Antoine Balpêtré, (more)
- 1943
The French Secrets of a Ballerina is based on Honore de Balzac's Un Seul Amour. The title character is ballet-star Clara Biondi (Micheline Presle), whose peak years are shown in flashback. Clara finds herself victimized by blackmailer -- and former lover -- James de Poulet (Robert Vattier). As it turns out, she will do anything to keep her sordid past from husband Gerard de Clergue (Pierre Blanchar). Director Pierre Blanchar (who also appeared in the film) evidently felt that the flashback format was the best method to convey de Balzac's tricky narrative style. ~ Hal Erickson, Rovi
- Starring:
- Micheline Presle, Gabrielle Fontan, (more)
- 1938
Le Schpountz (Heartbeat) stars Fernandel as a feckless country boy named Saturnin who fancies himself the second coming of Charles Boyer, and wants to make it in the film industry on this basis. Director Marcel Pagnol uses the plot of this bucolic comedy drama to mercilessly drub his producers and their often questionable methods of raising production money. ~ Hal Erickson, Rovi
- Starring:
- Fernandel, Orane Demazis, (more)
- 1938
The Baker's Wife (La Femme de Boulanger), though based on a novel by Jean Giono, was specially tailored by writer/director Marcel Pagnol for the talents of the incomparable Raimu. The star plays the new baker in the French community of Provence. One of Raimu's first customers is shepherd Charles Moulin, who is immediately smitten by the middle-aged baker's young, toothsome wife Ginette LeClerc. In short order, Ginette runs off with Moulin, a turn of events that the stubborn Raimu refuses to acknowledge. As he grows more taciturn, he neglects his work, and soon the whole village anxiously awaits the wife's return, else they'll never see another loaf of bread. The local Marquis (Charpin) takes matters in hand by leading the townsfolk in a search party for the wayward wife. The charms of The Baker's Wife are both captivating and fragile; an attempt in 1976 to turn the property into a Broadway musical proved the fragility by ignoring the charm. ~ Hal Erickson, Rovi
- Starring:
- Raimu, Ginette Leclerc, (more)
- 1935
The final film in Marcel Pagnol's Marseilles trilogy (following Marius and Fanny), this drama follows Cesariot (Andre Fouche), an 18-year-old who has recently been led to believe that his father, Honore (Fernand Charpin), is not really his father at all. Honore dies without telling Cesariot about his true parentage, but after the funeral, his mother Fanny (Orane Demazis) breaks the news that Cesar (Raimu), who he had always been told was his godfather, is in fact his grandfather. Cesariot asks Cesar for the truth; the old man tells him that his real dad is Marius (Pierre Fresnay), an auto mechanic, and tells him how to find the garage where Marius works. Cesariot sets out to meet Marius, but when he stops by the garage, Marius isn't in. His boss, Fernand (Doumel), decides to have some fun and tells Cesariot that Marius is a notorious outlaw; the boy buys it hook, line, and sinker and returns home heartbroken. When Marius finds out what happened, he realizes that he must find the boy and see if the damage can still be repaired. While any of the three films in Pagnol's trilogy can be enjoyed separately, Cesar in particular is best appreciated when seen alongside the other two films. ~ Mark Deming, Rovi
- Starring:
- Raimu, Pierre Fresnay, (more)
- 1932
In this sequel to Marcel Pagnol's Marius, which picks up roughly where the first film left off, sailor Marius (Pierre Fresney) has left for the sea, while his girlfriend Fanny (Orane Demazis) is pregnant with his child. Through she still loves Marius, Fanny bows to the pleas of her parents and agrees to marry Panisse (Fernand Charpin), an elderly sail maker, so that her baby will have a name and a father at home. Marius' father Cesar (Raimu) tries to keep Fanny's marriage and the child that Marius fathered a secret from him, but to no avail; when Marius learns of Fanny's predicament, he comes home as quickly as possible. While Marius and Fanny want to reconcile, Fanny's parents will hear nothing of it, and Panisse refuses to give Fanny up, declaring that while he is not the biological father of the child, the baby is his son in every other sense. With a heavy heart, Cesar advises his son to return to the life of the sea, and a heartbroken Marius follows his father's advice. Pagnol concluded his "Marseilles Trilogy" three years later with Cesar. ~ Mark Deming, Rovi
- Starring:
- Raimu, Pierre Fresnay, (more)
- 1931
In this touching romance, the first in Marcel Pagnol's Marseilles trilogy (the other two being Fanny and Cesar, Pierre Fresnay stars as Marius, a young man tending bar who dreams of a life at sea. Because he so desires to become a sailor, he cannot commit to marriage even though he loves Fanny (Orane Demazis). When the rich Honore Panisse (Charpin) proposes to Fanny, Marius becomes enraged, but still refuses to ask for her hand. At the bar, Fanny confesses her love for him and tells Marius she has rejected Honore's proposal. Marius admits his love for her as well and they retire to a back room to make love. When Marius is told a spot has opened up on a departing ship, he declines to sign on, not wanting to leave Fanny, but he still refuses to marry her. Fanny overhears the conversation, and not wanting to hold Marius back from the life at sea he so desires, tells Marius she has changed her mind and accepted Honore's proposal. Heartbroken, Marius rushes to pack and catch the departing ship. ~ Paul Brenner, Rovi
- Starring:
- Raimu, Pierre Fresnay, (more)
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