Pierre Forget Movies

La Soule is the name of a once-popular and now long-forgotten extremely violent sport with an ancient history, which somewhat resembles rugby. It was not uncommon for players to be left on the playing field after a game, dead or maimed. In this unusual drama, Pierre Cursey (Christophe Malavoy), a former officer in Napolean's army, seeks revenge against Francois Lemercier (Richard Bohringer), one of his soldiers, who betrayed him to the English. His plan is to track the soldier (now a village cobbler) down and humiliate him completely in a game of Soule, preferably one which results in grave injuries. It seems that the soldier's whole sense of pride in himself is invested in participation in this game. Pierre has one difficulty, though, as the nefarious soldier is not only a very good Soule player, but is the captain of a championship-winning Soule team. ~ Clarke Fountain, All Movie Guide

The title of Sand and Blood has led some to assume that this 1988 French film is a remake of the old warhorse Blood and Sand. In fact, the only thing the two properties have in common is a bullfighter as a protagonist. A sensitive matador (Patrick Catalifo) grows weary of killing and tries to escape his chosen profession. He meets a young, musically inclined doctor (Sami Frey) who likewise despises bullfighting. The two form a warm and giving friendship, which threatens to rupture when a woman enters the picture. ~ Hal Erickson, All Movie Guide

Director Bernard Favre has created the "look and feel" of a moment in time that has long since disappeared -- 1859-60 in the Savoy Alps. Joseph (Richard Berry) is a young Savoyard peasant who has been established in a village with his wife and two children for some time, and like others before him, makes a living by crossing the Alps into Italy in the winter months and selling his wares to the villagers. This story traces a winter's itinerary as the man encounters various adventures in his always-dangerous journey, but he seems oblivious to all the nuances and reverberations of social change going on around him. When he finally returns to his family after many months away, he discovers to his surprise that his village is now a part of France and it looks like a Savoyard would soon be sitting on the throne of a unified Italy. ~ Eleanor Mannikka, All Movie Guide

The English-language title of Toute Une Nuit is All Night Long, but don't confuse this film with the like-titled 1981 Gene Hackman-Barbra Streisand comedy. Belgian filmmaker Chantal Akerman uses a fragmentary approach to explore a series of personal relationships among a largely nonprofessional cast. It all takes place during one long, hot, stormy summer night. Dialogue is at a premium: Akerman tells her "stories" with objects, background noises, shadows, and subtle, seemingly unrehearsed shifts of facial expression. As in many of her earlier films, Akerman benefits from the extensive creative input of cinematographer Babette Mangolte. ~ Hal Erickson, All Movie Guide

This French sex farce is translated in English as The Trout. Joseph Losey directed and co-wrote the film, which stars Isabelle Huppert as Frederique, a young woman living on her family's rural trout farm. Frederique is trapped in a dull marriage to a rube. She decides to leave him and the trout farm for the city; she wants to make her living in the financial sector. She ends up in a cutthroat corporate world and meets up with the sophisticated Lou (the legendary Jeanne Moreau). Frederique finds herself trading sexual favors for corporate advancement and becoming more deeply involved in a complicated series of business dealings. Eventually, she longs for a return to her simpler life on the trout farm. ~ Michael Betzold, All Movie Guide

Joss Beaumont (Jean-Paul Belmondo) is a French spy given the assignment of killing an African dictator, and when he arrives in Africa to do so, he is captured and put in prison. The political winds had changed - the dictator is now an ally - and the best way to handle the agent is to keep him in jail. Naturally at odds now with his former bosses and with an ax to grind for his own incarceration, the agent escapes after two years in prison and heads back to Paris where he announces that he is going to finish his assassination job during the coming diplomatic visit of the African leader. Once aware of his intent, the French government sets up one trap after another, but to no avail - the agent remains free and there is no doubt that he has the full capacity to do exactly what he says. ~ Eleanor Mannikka, All Movie Guide

While investigating her thesis on the sex-life of Adolf Hitler, an American woman scholar (Lisbeth Hummel) interviews a number of ex-Nazis. As her interviews pile up, so do the strange connections she begins making to neo-Nazi groups. When she is kidnapped, her Nazi and neo-Nazi captors attempt to program her to fill an Eva-Braun-like role with the man they plan to acclaim as the next Hitler. For a while, it looks as though she has truly been brainwashed, but ultimately the evidence is quite otherwise. ~ Clarke Fountain, All Movie Guide

In this comedy, Louis de Funes is a top restaurant critic, the head of an important French culinary guide. At the beginning of the film, he and his son (Coluche) are at odds, as the son prefers working as a circus clown to studying the fine arts of gastronomy. The two join forces, however, to thwart the greedy owner of a chain of inferior restaurants, who plans to take over the finest restaurants in France and substitute his formulaic fodder for real cooking. Another lure bringing the son into the picture is a lovely secretary working for the guide. ~ Clarke Fountain, All Movie Guide

Proof of the success of French filmmaker Edouard Molinaro is the fact that several of his home-grown hits have been remade as American films. The most recent example of this is 1996's The Birdcage, a highly profitable reworking of Molinaro's La Cage aux Folles (1978). The director's 1973 comedy A Pain in the A... also went the Cage aux Folles route of enjoying worldwide popularity, then undergoing an Americanization process. In the Molinaro original, Lino Ventura plays a friendless hit man who holes up in an Italian hotel room, awaiting the opportunity to knock off his target, a mob witness. No sooner has Ventura drawn a bead on his would-be victim than he is interrupted by the comically suicidal Jacques Brel, who wants to jump from the open window in the assassin's room. The banter and byplay between Ventura and Brel is priceless, especially when veering towards the "sick" humor that Molinaro handles so well. Based on a play by Francis Veber, Pain in the A... was remade by Billy Wilder as Buddy Buddy (1978), with Walter Matthau as the hit man and Jack Lemmon as his unexpected guest. ~ Hal Erickson, All Movie Guide

The unfortunate boy in this French movie hasn't got a reliable friend, and he needs one. His father, perhaps unhinged by the death of his wife, beats and torments him almost constantly. His older brother, instead of protecting him, keeps watch over him for the father. His best friend, a homosexual, is in love with him, but the boy is in love with the best friend's sister. When the best friend catches the two in bed together, all hell breaks loose. ~ Clarke Fountain, All Movie Guide