Gisèle Pascal

An aspiring young actress (Valerie Kaprisky) accepts a leading role in a film version of Dostoyevsky's The Possessed. Dissatisfied by her performance, the eccentric filmmaker (Francis Huster) begins a rigorous course of indoctrination, sexual domination, and acting lessons, leaving the mentally exhausted girl unable to distinguish between the real world and that of the film. Arty, challenging, and some say over the top, the film was honored with the Special Jury Award at the Montreal World Film Festival in 1984. ~ Yuri German, All Movie Guide

Françoise Canavaggia (Danielle Darrieux) heads back to Toulon in 1963 with murderous plans for the people who now inhabit the villa that had once been hers. After arriving in Toulon, Françoise meets up with her sister and a niece, both adding to her tendency toward self-analysis. But with images of the present and past mixed with memories and fantasies of the past -- and excerpts from speeches by Petain and De Gaulle combined with psychological and philosophical ramblings -- director Paul Vecchiali has created complexities that many an audience will never figure out. ~ Eleanor Mannikka, All Movie Guide

An aging musketeer is called out of retirement to help a king in this comic swashbuckler. The king's twin brother is freed after twenty years in an iron mask. He is to be used as a decoy for the monarch while the real king and his court roust some rebels to foil their insurgent uprising. D'Artagnan (Jean Marais) leads the way with his expert fencing to aid in the royal flush. ~ Dan Pavlides, All Movie Guide

This uneven crime drama by director Tony Saytor is based on a tale by novelist Peter Cheney (author of the 1945 La Mome Vert de Gris). The story here has nothing innovative to offer; it is essentially what happens when a decent man (Raymond Pellegrin) is framed for a crime he never committed by some mafia-types. Rather than sit back and accept his misfortune, the good guy changes his colors and goes after the gangsters, one by one. ~ Eleanor Mannikka, All Movie Guide

Producer/director Sacha Guitry's contribution to the 1956 film season was the free-flowing historical pageant Si Paris Nous Etait Conte (If Paris Were Told to Us). Guitry himself appears as the ghost of King Louis XI, who relates the story of Paris to a group of fascinated modern-day students. As usual, Guitry manages to "humanize" history by depicting the great men and women of France in amusing warts-and-all fashion. Symbolizing the indomitable spirit of Paris is Robert Lamoureaux as Latude, a prisoner of the Bastille who repeatedly tries to escape, and just as repeatedly is captured and thrown back in jail. A note of pathos is provided by Jacques de Feraudy as the dying Voltaire. Though Sacha Guitry suffered a stroke and was confined to a wheelchair throughout much of the filming of Si Paris Nous Etait Conte, he still had two more films left in him before his death in 1957--just 10 days after Bastille Day. ~ Hal Erickson, All Movie Guide

Sacha Guitry's Si Versailles M'Etait Conte (If Versailles Were Told to Me) is best known by its American title Royal Affairs in Versailles. In addtion to writing and directed the film, Guitry reserves for himself the plum role of Louis XIV. Concentrating on the palace of Versailles over a period of 300 years, the storyline concentrates on the various amorous and political intrigues of three French kings. The plot manages to wend its way through the French revolution, coming to a halt in "the present". The star-studded supporting cast includes Jean Marais as Louis XV, Claudette Colbert as Mme. Montespan, Micheline Presle as Mme. Pompadour, and, best of all, Orson Welles as a gouty Ben Franklin. Most currently available prints of Si Versailles M'Etait Conte are severely edited, and fail to do justice to the rich Eastmancolor hues of the original version. ~ Hal Erickson, All Movie Guide

The life story of famed French aviatrix Helene Boucher is detailed in Horizons san Fin (Endless Horizons). Giselle Pascal stars as Boucher, who is first seen in 1930, leaving her millinery shop behind in favor of the wild blue yonder. Though the world of aviation was still essentially an all-male one (despite England's Amy Johnson and America's Amelia Earhart), Boucher perseveres, eventually breaking all existing male and female speed and height records. A bit slow on the uptake in the dramatic scenes, the film soars (no pun intended) during the aerial sequences. Horizons san Fin was the winner of the Catholic Award at the 1953 Cannes Film Festival. ~ Hal Erickson, All Movie Guide

The Naked Woman is the mildly exploitive American title for this French filmization of the Henry Bataille novel La Femme Nue. The woman in question is Loulou (Giselle Pascal), who makes her living as an artist's model. Loulou is the live-in lover of struggling artist Pierre (Yves Vincent). When his works suddenly become famous, Pierre becomes impossible to live with. He also cheats outrageously on Loulou, even after making their union legal. On the verge of suicide, Loulou finds solace in the arms of Rouchard (Jean Davy), another artist who has loved her all along. This standard-issue romantic yarn is distinguished by the cinematography of Russian-born Michel Kelber, who also worked with Autant-Lara, Rene Clair and Jean Renoir. ~ Hal Erickson, All Movie Guide

The troubled turn-of-the-century marriage of a Nobel Prize winner provides the basis of this complex French domestic drama. Neither husband nor wife have been faithful to each other. She is currently having a blatant affair with a drunken news reporter while the writer once had a mistress himself. Unfortunately, she is now dead. His wife discovers that the mistress bore a child and she decides to adopt the orphan herself. ~ Sandra Brennan, All Movie Guide