Guy Delorme Movies

An international cast headlines this espionage comedy that centers on a world-wide hunt for stolen American defense papers. ~ Sandra Brennan, Rovi

Years after serving together in the French Foreign Legion, American soldier of fortune Franz Propp (Charles Bronson) and French doctor Dino Barron (Alain Delon) are unexpectedly reunited under the most extraordinary circumstances. Hoping to help a friend who has embezzled some bonds, Barron tries to break into a safe in the dead of night. Sneaking into an underground vault he is surprised to discover that his old pal Propp is also on the premises, likewise intending to crack the safe, albeit for his own benefit. After a few awkward moments, a friendship develops between the two as they try to get out from the locked vault. A Franco-Italian co-production, Adieu L'Ami was released in the U.S. as Farewell, Friend and Honor Among Thieves. ~ Hal Erickson, Rovi

O.S.S 117 (Frederick Stafford) is an American CIA operative who is sent to South America to thwart the attempt of a group of underground subversives who want to take over the world. Although classified as a Bond-style spy feature, it lacks the humor and gloss of other films of the genre. Location shots from Brazil are impressive as the sight of routine gun battles. ~ Dan Pavlides, Rovi

This French-filmed trifle is based on the roguish character created by Ponson du Terrail. American actor Channing Pollock is Rocambole, living by wits in Paris. The film recounts his adventures as he goes from one swinging nightspot to another. Along the way, he breaks a few hearts, but holds out promise for others. A moderate success in the American art-house circuit, Rocambole did even better when released to TV. ~ Hal Erickson, Rovi

Gary Cooper more or less repeats his international-roue characterization from 1938's Bluebeard's Eighth Wife for the 1957 romantic comedy Love in the Afternoon (both films were co-scripted by Billy Wilder, who also directed the latter picture). Audrey Hepburn co-stars as the daughter of Parisian private eye Maurice Chevalier. Investigating the amorous activities of Cooper, Chevalier relates what he's discovered to cuckolded husband John McGiver, who declares that he's going after Cooper with a pistol. Overhearing this conversation, Hepburn rushes off to rescue Cooper. She keeps him far away from McGiver by adopting a "woman of the world" pose. Cooper quickly sees through this charade; still, she is fascinated by Hepburn and attempts to relocate her after she disappears. Meeting Chevalier one day, Cooper relates the story of the Mystery Woman, never dreaming that he is describing Chevalier's daughter. Equally in the dark, Chevalier offers to locate the elusive Hepburn. Once he's tumbled to the fact that his quarry is his own flesh and blood, Chevalier advises Hepburn against contemplating a relationship with the much-older Cooper. She, of course, fails to heed this warning, setting the stage for an ultraromantic finale. Love in the Afternoon is highlighted by a superb running gag involving a quartet of gypsy violinists, who insist upon dogging Cooper's trail wherever he goes-including a steam bath. Love in the Afternoon was adapted by Wilder and I.A.L. Diamond from the novel Ariane by Claude Anet. ~ Hal Erickson, Rovi