Monique Chaumette Movies

Anatole Hirsch (Phillippe Noiret) has already made his mark as a writer, and has garnered critical acclaim and financial rewards. However, he isn't a very nice man, and his life has left him angry and dissatisfied. To address that discomfort, he decides to perpetrate a hoax on the unsuspecting art community. Under a pen name, which he arranges for his young cousin Martin (Robin Renucci) to act as the front for, he writes a really brutal novel. Later, when the novel wins a major French literature prize, Martin begins to preen himself on his newfound, false, fame. Anatole will have none of that, and quickly pens a lousy second novel for the young author which, like so many second novels, condemns the heretofore promising young "novelist"back to the obscurity he emerged from. ~ Clarke Fountain, All Movie Guide

In this murder mystery, based on a Georges Simenon novel, a homicidal maniac goes on a killing spree beginning with his wife, whom he kept in the cellar. He then kills six of her aged friends and is preparing to murder a seventh when the intended victim dies naturally. As a substitute, he murders his favorite hooker, a crime that leads the police right to him. ~ Sandra Brennan, All Movie Guide

A torrent of dreams and memories are set off in the mind of Felicite (Christine Pascal) by a powerful flare-up of jealousy. She is at the movie theater with her current boyfriend when he sees and greets an old friend. When he invites the girl to join them for drinks afterwards, Felcite runs back to her home, where she has an evening of heavy drinking, memories, erotic fantasies and nightmares. Many sexual situations, as well as traumatic events from her past, arise in her mind and are acted out on the screen. Eventually, her boyfriend returns to their home and she grills him for details of his lovemaking that night. ~ Clarke Fountain, All Movie Guide

In this complex chronicle of the evolution of a provincial family's life, the story follows three generations of at least two neighboring families from the 1890s to the 1970s. In one of many related tales, a man who was engaged to the older daughter of a farmer elopes with the younger one. After many years and the birth of five children, the man leaves his wife and family for the bright lights of the city but continues turning up from time to time, until he is finally taken into the home of one of his sons when he is a quite old man. The complex interactions of the legitimate and illegitimate children of a womanizing miner give rise to yet another set of related stories. ~ Clarke Fountain, All Movie Guide

Le Juge et L'Assassin probes a curious relationship between condemner and condemnee. Philippe Noiret plays Rousseau, a French judge who holds the fate of convicted child killer Bouvier (Michel Galabru) in his hands. Should Rousseau decide that Bouvier is insane, the killer will not go prison. As they come to know each other better, both are given the rare opportunity of exploring the vagaries of the human mind. The previously unbendable judge alters several long-held opinions concerning criminals, while Bouvier is for the first time in his life able to articulate the thought processes which motivate his actions. It is clear at times that much of the dialogue in Judge and the Assassin stems from Bertrand Tavernier's own lifelong feelings of loneliness and isolation. ~ Hal Erickson, All Movie Guide

Marcello Mastroianni stars in this French farce, an absurd "western" set in Paris, with Mastroianni as the incurably vain General George Armstrong Custer. Richard Nixon is the American president, but everyone is costumed appropriately for the previous century. Buffalo Bill (Michel Piccoli), the famous scout, is here portrayed as a limp-wristed bungler. Ugo Tognazzi plays one of Custer's Native American opponents; he runs a curio shop selling Native artifacts made in sweatshops by white women. The climactic battle is held in a large construction excavation where Les Halles market used to be. The language the two sides use to justify their conflict is lifted from that used in the then-current Vietnam War. ~ Clarke Fountain, All Movie Guide

This film focuses on the experiences of two small children in Nazi-occupied France who, for their own protection, are placed with a somber family of Protestant farmers. It should be noted that French Protestants had been much-persecuted, were less numerous than Jews, and could be expected to have some sympathy for the plight of Jews under Nazism. The two children, a boy and a girl, are from different backgrounds and do not at first get along. ~ Clarke Fountain, All Movie Guide

Simone Signoret plays the title role in this dark melodrama from writer/director Pierre Granier-Deferre. The Widow Couderc is based on a novel by Georges Simenon. Here Signoret (who also starred in Le Chat, an earlier Granier-Deferre adaptation of a Simenon novel) plays a bitterly independent middle-aged widow; she is a farmer who takes in a handsome young drifter, Jean (Alain Delon), who turns out to be recently released from prison. Jean does odd jobs for the woman, who lives with her elderly father-in-law, Henri (Jean Tissier), who pretends to be deaf when it suits him, and surreptitiously has an intimate relationship with Couderc. It's Henri's house, and when Jean moves in, it gives the widow's resentful sister-in-law, Françoise (Monique Chaumette), the excuse she's looking for to get Henri to leave the house so she can sell it. The widow and Jean have a modest dream of using an incubator to raise chicks and make a decent living, but their plans are further complicated when Françoise's promiscuous teenaged daughter, Félicie (Ottavia Piccolo, who would go on to star opposite Delon again in 1974's Zorro) comes around with her infant son. Félicie clearly has eyes for Jean, and to the consternation of the widow, who holds his fate in her hands, Jean has trouble resisting the younger woman's charms. ~ Josh Ralske, All Movie Guide

In this 1987 film, director Bertrand Tavernier depicts French life in the Middle Ages as dreary, unromantic, and brutal. The story begins when a warrior leaves home to fight in the Hundred Years' War (1337-1453) between France and England. Before his departure, he gives his young son, François, a sword to safeguard his mother and her virtue. One day, after the boy opens a bedroom door to find his mother willingly submitting to a man, he uses the sword to kill the man and becomes traumatized with guilt and enmity toward his mother. Years later, François (Bernard Pierre Donnadieu) must go off to war as a chevalier, or knight. While he is away, his daughter, the gentle and loving Béatrice (Julie Delpy), sees to the needs of her little brother and her feckless mother. Although the castle in which they live is a sepulcher of shadows and stone, Béatrice maintains her spirits as she looks forward to the day when her father's voice will once again echo in the corridors. After four years of war in which he was held captive for a time by the English, he returns to the castle, a hardened warrior who has renounced God. Inside his twisted mind, he still carries the memory of that terrible day long ago, the day he discovered his mother was an adulteress. Giving the demons within him free rein, he begins to abuse everyone around him: He insults, bullies, and pillages the local village. He even forces his son Nils Tavernier to wear women's clothes and become the prey in a hunt. As he descends deeper into depravity, it is innocent Béatrice who suffers the most. Whether he has completely destroyed her, or whether she will rise up and destroy him, becomes the central focus of the film as it moves toward its conclusion. The dialogue is in French with English subtitles. ~ Mike Cummings, All Movie Guide

Subversive Italian satirist Marco Ferreri directed and co-wrote (with Rafael Azcona) this grotesquely amusing French black comedy about four men who grow sick of life, and so meet at a remote villa with the goal of literally eating themselves to death. The quartet comes from various walks of life -- a pilot (Marcello Mastroianni), a chef (Ugo Tognazzi), a television host (Michel Piccoli), and a judge (Philippe Noiret) -- but all are successful men with excessive appetites for life's pleasures (food is used as mere metaphor here, as graphic as that metaphor becomes). ~ Robert Firsching, All Movie Guide