Michel Delahaye Movies

Jacques Rivette's epic-scale meditation on art, politics and relationships is an eight-part, 740 minute drama that begins as an examination of two Parisian theater companies. Lili (Michele Moretti) is a member of an experimental troupe preparing a radical new interpretation of Aeschylus's Seven Against Thebes, while Thomas (Michel Lonsdale) is in charge of a state-funded group who are rehearsing another work by the same ancient Greek playwright, Prometheus Unbound. Drifting in and out of the orbit of these two groups are Sarah (Bernadette Lafont), an author and longtime friend of Thomas; Colin (Jean-Pierre Léaud), a deaf street musician; Frederique (Juliet Berto), a sexy confidence woman, and the bohemian owner of a knick-knack shop who often changes her name (Bulle Ogier), among many others. Colin tries to search out the meaning of a strange note handed to him by a mysterious stranger, while Frederique becomes party to a similar message. As it happens, both learn of the possible existence of a secret society of thirteen powerful individuals who are the true rulers of Paris, but neither is sure if the group exists in history or the present day, and they have very different notions of what to do with this information. Jacques Rivette originally screened Out 1 as a work in progress (titled Out 1: Noli Me Tangere) at a pair of screenings in Paris in the fall of 1971; it was originally conceived as a project for television, but became a theatrical film after it was rejected by French broadcasters. While a four-hour version, Out 1: Spectre, began making the rounds of film festivals in 1974, the film didn't appear in its full twelve-hours-plus version until 1989, when a new cut of Out 1 appeared at the Rotterdam Film Festival. The final cut of Out 1 appeared with English subtitles in London in 2006, and has subsequently been screened in Vancouver, New York City and Chicago. ~ Mark Deming, All Movie Guide

Exposed is the film in which concert violinist Rudolf Nureyev grabs his bow and "plays" the lissome body of Nastassja Kinski. This may well stand as the silliest bit of erotica in screen history, but in the context of the film it's a model of restraint. We're asked to believe that Kinski is Elizabeth Carlson, a Wisconsin girl who has come to the big city to make it as a pianist or model. We're also supposed to be convinced that Nureyev is part-time espionage agent Daniel Jelline, who is determined to bring terrorist Rivas (Harvey Keitel) to justice. Much of the film takes place in Paris, where at least the scenery is lovely. The various plotlines and characters never quite congeal. Despite the fact that director James Toback is given sole screenplay credit, the film seems more like a "committee" project. To its credit, Exposed is never dull; with that cast, how could anyone fall asleep? ~ Hal Erickson, All Movie Guide

Featured in this evocative though still uneven first-time film by Marie-Claude Treilhou is the spunky Simone Barbes (Ingrid Bourgoin, a non-actress but an actual usher) who works as an usher in a porno cinema. She and a friend exchange witticisms while at work as the theater-goers sneak by looking guilty and certainly not wanting to be noticed. When Simone gets off work she heads to the seedy nightclub where her lesbian lover works and spends some time just hanging out. Once out of the club, she runs into a lonely man who picks her up but is unable to follow through on the sexual exploits he has in mind. Simone monologues and he listens, as the demi-monde of the city at night gets ready to cede to another day. ~ Eleanor Mannikka, All Movie Guide

Pierre (Nicholas Silberg) is a garage mechanic in his mid-30s with a considerable yen for the ladies. It comes as something of a surprise even to him, though, when he falls passionately in love/lust with Jeanne (Helen Surgere), a much older woman in her 50s. She is unmoved by his advances, but despite her sharp rebuffs, he moons over her and hangs on every phone call, expecting it to be from her. Her heart thaws when she learns she is suffering from an incurable and fatal disease, and she is not sorry. ~ Clarke Fountain, All Movie Guide

Bernadette Lafont is as alluring as all get out in Such a Gorgeous Kid Like Me (original title: Une Belle Fille Comme Moi). She plays a crafty murderess who uses her not inconsiderable charms to disarm her victims and trap unwitting males into helping her. Claude Brasseur plays the ingenuous criminology student to whom Lafont relates her steamy past. In the end, he is as "hooked" as any of the other men in the girl's life. Based on the novel by Henry Farrell (and more than a little inspired by such Hollywood "black widow" films as The File on Thelma Jordon), Such a Gorgeous Kid Like Me is one of the most consistently enjoyable of Francois Truffault's films of the 1970s. ~ Hal Erickson, All Movie Guide

In Bernardo Bertolucci's art-house classic, Marlon Brando delivers one of his characteristically idiosyncratic performances as Paul, a middle-aged American in "emotional exile" who comes to Paris when his estranged wife commits suicide. Chancing to meet young Frenchwoman Jeanne (Maria Schneider), Paul enters into a sadomasochistic, carnal relationship with her, indirectly attacking the hypocrisy all around him through his raw, outrageous sexual behavior. Paul also hopes to purge himself of his own feelings of guilt, brilliantly (and profanely) articulated in a largely ad-libbed monologue at his wife's coffin. If the sexual content in Last Tango is uncomfortably explicit (once seen, the infamous "butter scene" is never forgotten), the combination of Brando's acting, Bertolucci's direction, Vittorio Storaro's cinematography, and Gato Barbieri's music is unbeatable, creating one of the classic European art movies of the 1970s, albeit one that is not for all viewers. ~ Hal Erickson, All Movie Guide

This somewhat talky French-language film concerns a goofy bunch of military types and involves them in encounters with a variety of late '60s radicals who spout off a bit. It is notable chiefly because it was about to be subjected to severe censorship for its political content but was saved by the incoming Culture Minister Jacques Duhamel. ~ Clarke Fountain, All Movie Guide

French cult director Jean Rollin had his roots in the avant-garde film movement, so it's no surprise that many of his early films are nearly unwatchable. This vexing piece of psychedelic nonsense concerns newlyweds Antonio and Ise, who visit an old castle owned by the bride's dead cousins. When Ise is too grief-stricken to consummate her marriage, a vampire named Isolde pops out of a grandfather clock and plays with Ise's breasts then takes her to the cemetery and bites her neck. Isolde is joined by two lesbian servants and Ise's undead cousins -- a pair of bourgeois male vampires who wear hippie clothes and spout incomprehensible philosophy. A subplot involves a village woman named Isabelle, who slept with both of the cousins when they were living vampire-hunters. Isolde ends up killing her while wearing ten-inch spiked pasties. It is up to dull Antonio to get his wife out of the castle before she becomes a vampire, but he fails, so he ends up crying on a beach after Ise, and her cousins are disintegrated by the morning sun. Every other scene seems to use a different colored gel -- from red and blue to a sickly orangish-purple -- and Rollin includes a great deal of mist and wind to add "atmosphere," -- as well as a dreadful score by a teen-rock group called Acanthus, which mercifully disbanded shortly afterward. Rollin eventually improved, becoming a master of erotic horror, but this film shows no evidence of such talent. Sandra Julien co-stars with Jean-Marie Durand, Jacques Robiolles, and Michel Delahaye. ~ Robert Firsching, All Movie Guide

In Alphaville, Jean-Luc Godard fuses a hardboiled detective story with science fiction. Lemmy Caution (Eddie Constantine), a hero Godard borrowed from a series of French adventure films, comes to Alphaville, the capital of a totalitarian state, in order to destroy its leader, an almost-human computer called Alpha 60. While on his mission, Lemmy meets and falls in love with Natacha (Anna Karina), the daughter of the scientist who designed Alpha 60. Their love becomes the most profound challenge to the computer's control. Void of any flashy special effects, Alphaville uses 1960s Paris to depict the city of the future. ~ Matthew Tobey, All Movie Guide

RoGoPaG is an omnibus of short films by Roberto Rossellini, Pier Paolo Pasolini, Ugo Gregoretti and Jean- Luc Godard. Each episode is introduced by a quotation from the Bible which the episode illustrates with a fiction of contemporary life. Rossellini's film, "Illibatezza" ("Virginity"), is the tale of Anna-Maria Rosanna Schiaffino, a beautiful, demure stewardess courted by Joe, an American businessman on a trip to Bangkok. Pasolini's film, "La Ricotta" ("Ricotta Cheese"), concerns a film crew shooting the passion of Christ. The film's director, played by Orson Welles, gives a hilarious interview to a journalist who comes on the set. The scenes from the passion are shot as recreations of renaissance paintings and the landscapes are filled with beautiful boys. Godard's "Il Nuovo Mondo" ("The New World") follows a couple, played by Jean-Marc Bory and Alexandra Stewart, whose relationship ends just after an atomic bomb is exploded high over Paris. The film uses the Paris of the early 1960s as the city of some indefinite future, a technique Godard would use again in Alphaville. Gregoretti's contribution "Il Polo Ruspante" ("The Free Range Chicken") cuts between a speech by a marketing expert (Ugo Tognazzi) and a family's Sunday outing. The expert speaks on mechanisms for promoting sales by keeping the consumer dissatisfied. The family takes a drive through traffic, negotiates an impersonal highway restaurant, and considers buying some land. ~ Louis Schwartz, All Movie Guide