Pierre Laroche Movies

Maria Garcia (Carmen Maura) is a television journalist and she's about to be a single mother. Her career foremost in her mind, she doesn't slow down even for a minute, despite her pregnancy. She is, however, taking Lamaze classes and is quite competently coping with the romantic attentions of a man she's not very interested in. It's not at all irrelevant that her news beat includes stories on terrorism, the greenhouse effect, pollution and genetic engineering, because when her baby's due date comes and goes, she starts hearing from her infant from in the womb. It is telling her that it and many other babies are refusing to be born into such a horrible world. She learns that this is true, and that the children born through induced labor are dying. ~ Clarke Fountain, Rovi

The July 3, 1973 concert by David Bowie at London's Hammersmith Odeon Theatre is the subject of this documentary by director D.A. Pennebaker, best known for the earlier rock films Don't Look Back and Monterey Pop. Framed by a smattering of behind-the-scenes footage, the bulk of the film concerns the actual concert, notable as the final time that Bowie would perform under the Ziggy Stardust persona -- an announcement that, at the time, led many fans to mistakenly believe Bowie was retiring altogether. This "final" performance features numerous songs from Ziggy Stardust, Hunky Dory, Aladdin Sane and other Bowie albums, including "Ziggy Stardust," "Moonage Daydream," "Changes," and "Space Oddity," as well as a cover of the Velvet Underground's "White Light/White Heat." Though a shortened version of the film was broadcast on television in 1974, the film did not receive a full theatrical release until 1983. ~ Judd Blaise, Rovi

Two men in their mid-twenties chase their dreams to the big city with tragic results in this acclaimed piece of low-key neorealism from Canada. Joey (Paul Bradley) and Peter (Doug McGrath) are best friends from a small town in Nova Scotia. With jobs scarce and prospects slim at home, Joey and Peter decide to pack up their meager belongings and head west to Toronto, where they're convinced better luck awaits them. Joey's uncle refuses to take in the travelers, and Peter's friends turn out to be short on job leads, but after a few rough nights, Joey, a practical sort, lands a job loading cases in a ginger ale bottling plant. Peter has aspirations toward better things, but it quickly becomes obvious he lacks the education or the temperament for office work, and before long he's hefting cases alongside Joey. For a while, the guys get along on their 80 dollars a week, and Joey finds a girlfriend in Betty (Jayne Eastwood), a pretty but tough-talking waitress. Peter has his eyes on Nicole (Nicole Morin), a beautiful woman who works in the plant's office, but after he gathers up the courage to take her out on the town, Nicole rejects his advances and he's left alone and humiliated. When Joey learns that Betty is pregnant, the two marry, but within a few weeks, both Joey and Peter are laid off, thanks to a seasonal slowdown, and their new lives begin to slip through their fingers. Shot in 16 mm on a shoestring budget, Goin' Down the Road became an unexpected critical success in both Canada and the United States and was named the best English-language Canadian feature of the century by the Toronto-based newsweekly MacLean's. ~ Mark Deming, Rovi

Georges Lautner, a popular French director of comedies and romantic dramas, tries his hand at a war film in this routine tale set in a small French town during the German Occupation. A microcosm of the country as a whole, the town is divided between the resistance fighters and those who turn a blind eye to the occupying forces. The mayor (Bernard Blier) at first appears to be just a leisurely yet effective, middle-aged man who is willing to help people out when the need arises. But as circumstances take a more serious turn, the mayor shows that he is also capable of heroic action. ~ Eleanor Mannikka, Rovi

At the insistence of the Czechoslovakian judges, the French-Czech Liberte Sureveille (Provisional Liberty) was withdrawn from the 1958 Cannes Film Festival, though it was shown out of competition. The plot concerns the efforts of a young man to escape his own country in favor of a more agreeable clime. What is unusual here is that the hero is a Frenchman who yearns to live in communist Czechoslovakia! His wish is granted when, mistaken as a member of a French boating team, he manages to elude the democratic authorities long enough to scamper over the Czech border. It turns out that he is motivated by romance rather than politics, but still?.a man who wants to escape to the other side of the Iron Curtain????? ~ Hal Erickson, Rovi

This French film version of Colette's best-selling novel Gigi predated both the 1950 stage adaptation and the 1958 Hollywood musical of the same name. Set in fin de siecle Paris, The story is the familiar one about 16-year-old Gigi (Daniele Delorme), a waif-like creature who is trained to become a Parisian courtesan by her worldly wise Aunt, Mme. Alvarez (Yvonne de Bray). The girl's first assignment is to serve as the "arm ornament" of wealthy playboy Gaston (Frank Villard), whose previous experiences with women have turned him into something of misogynist. When Gigi falls genuinely in love with Gaston, Mme. Alvarez is appalled: after all, true love is bad for business. Gaston is likewise taken aback by Gigi's devotion -- until he realizes with startling suddenness that he has fallen for her. Long unavailable in the U.S. due to the Oscar-winning MGM musical remake, Gigi happily resurfaced on American cable television in the mid-1990s. ~ Hal Erickson, Rovi

Originally released in 1942 as Les Visiteurs du Soir, The Devil's Envoys is another masterful collaboration between actress Arletty, writer Jacques Prevert and director Marcel Carne, who would team up one year later for the brilliant Les Enfants Du Paradis. The film is predicated on the 15th century French legend, wherein the Devil, disturbed by the encroaching forces of Good, sends his envoys to Earth to drive the citizens to despair. The Devil, played by Jules Berry in a subtly Hitler-like fashion (a chancy artistic decision in the days of the Occupation), is thwarted when his agents are unable to overcome the power of true love. Even after the lovers are turned to stone for defying His Satanic Majesty, their hearts continue to beat for each other. ~ Hal Erickson, Rovi