Germaine Delbat Movies

Filmed on location "Somewhere in France", this umpteenth version of Dumas' The Corsican Brothers stars the zoned-out comedy team of Cheech and Chong. Perhaps inspired by the Ritz Bros.' spin on The Three Musketeers, the duo retains enough of the original story (about twin brothers who feel one another's pain) to keep the plot going, but try to inject their own peculiar brand of humor throughout. The film's highlight is a duel with two loaves of stale bread. Yes, that's the highlight. Just as the 1930s comedy team of Wheeler and Woolsey lost their audience when they dropped their risque humor and Prohibition gags, so too do Cheech and Chong falter when not indulging in the drug-oriented comedy which made them famous in the early 1970s. ~ Hal Erickson, Rovi

A young French-Canadian, who has romanticized notions of France, based on great works of literature and art decides to visit his fabled ancestral homeland, and discovers the simple reality of the place and its living, breathing, very ordinary human beings. While there, he meets several people, and has an affair with a woman jurist with an unhappy marriage. Considerably enlightened, rather than disillusioned, he returns to his Canadian home. ~ Clarke Fountain, Rovi

Bilitis (Patti D'Arbanville) is a boarding-school teenager on the verge of full erotic awakening, but during the summer she spends with a married couple in the 1930s the nearest she comes to exploring her sexuality is to be caught up in a sort of wave of sensuality. ~ Clarke Fountain, Rovi

A veteran police inspector (Lino Ventura) is reprimanded after killing a youth who goes on a murderous killing spree. He is sent to a provincial police station where he is helped by his assistant (Marlene Jobert) in solving local crimes. As the duo embarks on a witness search, they begin to develop feelings for one another. ~ Dan Pavlides, Rovi

Bertrand (Louis De Funes) is a victim of blackmail when a man asks for his daughter's hand in marriage in this madcap comedy of errors. The suitor offers money he has embezzled in exchange for permission to wed the young woman. The trouble is that the woman is not really Bertrand's daughter but a woman who had only borrowed her name. Bertrand agrees to let Oscar the chauffeur marry the woman without revealing that she is not really his own daughter. ~ Dan Pavlides, Rovi

Jackie Gleason plays Gigot, a lumbering but lovable mute Parisian derelict. Shunned by the "respectable" people around him, Gigot is beloved by the children. One of the kids, a little girl, is the melancholy daughter of an insensitive prostitute. Gigot befriends the lonely child and protects her against her wicked parent and the local constabulary. Gigot was heavily edited by 20th Century Fox prior to its release, and subsequently disowned by its director, Gene Kelly. Still, a few hilarious and genuinely poignant moments shine through in this Chaplinesque tour de force for Jackie Gleason, who not only starred but wrote the script and the musical score. ~ Hal Erickson, Rovi

Max Ophuls' final film (and his only movie in color) is a cinematic tour-de-force masquerading as a biography, in this case a dazzling fictionalized life of the notorious 19th century dancer, actress, and courtesan. A still beautiful, but weary and disillusioned (and, as we later discover, ailing) Lola Montes (Martine Carol) is first seen as the featured attraction at a seedy American circus, appearing at the center of a series of various tableaux depicting the scandalous events for which she is known. With a strangely sincere yet sinister and manipulative ringmaster (Peter Ustinov) providing color commentary, some of it very ironic on two or more levels, the movie flows between these staged recreations in the circus and the events as recalled by the subject. In a series of dissolves, the film takes us through her girlhood with her mother, interrupted when her mother's lover (Ivan Desni) becomes attached to the daughter; her unhappy marriage and its aftermath; romances with composer Franz Liszt (Will Quadflieg), abduction by a Russian general (in the arms of Cossacks, no less); her affairs across the landscape of Europe with men great and notable; her thwarted aspirations as a dancer; and her romance with King Ludwig I (Anton Walbrook) of Bavaria, which led to her being made Countess of Landsfeld, and, later, to his abdication. The gracefulness of Ophuls' cyclical narrative, and the transitions between the recalled elegance of the locales, and the people with whom her romances and affairs took place, and the seediness of the circus -- where she is also compelled, in the course of performing, to perform as an aerialist -- were lost on viewers in 1955. And for many years the movie only existed in a version re-cut without the director's approval, in which the story was presented in linear fashion. It was only in the 1960's, long after Ophuls' death, that efforts were made to restore the original structure, and in 2008 the movie's original Technicolor luster was restored to its full depth and richness. ~ Bruce Eder, Rovi