Yvonne Furneaux Movies

Mel Ferrer buckles his swash for the Italian actioner Charge of the Black Lancers. Cast as a sword-wielding patriot, Ferrer challenges his enemies individually and collectively at every opportunity. Things become sticky when he is forced to contend with a traitorous sibling. Leading lady Yvonne Furneaux has little to do but look ravishing in low-cut period costumes; this she does exceedingly well. Charge of the Black Lancers was one of several European productions in which Ferrer starred in the early 1960s, while wife Audrey Hepburn held down the fort, as it were, in Hollywood. ~ Hal Erickson, All Movie Guide

This is the final entry in the Dr. Mabuse films a bad doctor wants to blow up Earth with a death ray and a giant concave mirror. He is thwarted by the brave hero. ~ Sandra Brennan, All Movie Guide

In one of the most widely seen and acclaimed European movies of the 1960s, Federico Fellini featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he's too lazy to argue with this setup. He attaches himself to a bored socialite (Anouk Aimée), whose search for thrills brings them in contact with a bisexual prostitute. The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (Yvonne Furneaux)) with the demands of his profession (an interview with none-too-deep film star Anita Ekberg). Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective "Felliniesque" in this celebrated movie, which also traded on the idea of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival. ~ Hal Erickson, All Movie Guide

Claude Autant-Lara's 1961 Count of Monte Cristo is one of the most faithful screen versions of the evergreen Alexandre Dumas story -- and one of the most compelling, thanks to the director's ability to squeeze the last drop of romanticism out of the original. While Louis Jourdan seems ill at ease as the younger Edmond Dantes, he is ideally suited for the film's later scenes, when the older, sadder, and wiser Dantes begins exacting revenge upon those who had him condemned to prison. Honoring the spirit of the original, Autant-Lara avoids inserting the leftist proselytizing which weighed down many of his later films. To perk up the pace and ensure double-bill bookings, the American distributor of Count of Monte Cristo removed 90 minutes from the film's 3-hour length. This was the seventh movie adaptation of the Dumas classic, which was first filmed by Hobart Bosworth in 1912. ~ Hal Erickson, All Movie Guide

This stylish psychological thriller from Claude Chabrol has such labyrinthine plotting that many critics called it too confusing. Christine Balling (Yvonne Furneaux) tries to convince Paul Wagner (Maurice Ronet) to sell his venerable champagne business to an American company. She asks her husband Chris (Anthony Perkins), who is also Wagner's friend, to help her to persuade the stubborn Paul. While on a trip to Hamburg, Wagner picks up a German girl in a restaurant. The next morning, the girl turns up dead, and Paul can't remember if it was he who killed her. Chris, who becomes aware of the incident, promptly tells his wife, and she tries to blackmail Wagner into signing a deal with Americans. Later, another woman turns up dead, and again Paul was the last person who saw her alive. He begins questioning his own sanity. ~ Yuri German, All Movie Guide

A group of starving Roman artists provides the focus of this episodic drama that tells the often tragic story of each of them. One commits suicide after learning that his only patron is his homosexual lover. Another, a female singer, is a nymphomaniac. A third member gives up art in favor of marrying a German woman who is two decades older than he. As the original group begins to diminish, it is replenished by new, more idealistic young artists. ~ Sandra Brennan, All Movie Guide

House of the Arrow is the third film version of the classic A.E.W. Mason mystery novel. A wealthy French widow is poisoned in her home. Inspector Hanaud (Oscar Homolka), a Columbo-like methodical detective, investigates. Far be it from us to reveal the murderer, but we can reveal the method of murder--an arrow, tipped in poison. One advantage the 1953 version of House of the Arrow has over the first versions is the bluff, hearty presence of Oscar Homolka, who could entertain an audiences by reading the want ads if he so desired. ~ Hal Erickson, All Movie Guide

A robbery is prevented by an undercover art dealer pretending to be a criminal. ~ All Movie Guide

While on a dig in Egypt, British archaeologist John Banning (Peter Cushing) desecrates the tomb of Princess Ananka, awakening her mummified lover (Christopher Lee). With revenge on his mind, the mummy follows Banning and the rest of his group back to England, but becomes quite taken with Banning's wife (Yvonne Furneaux), who resembles the princess quite closely. ~ John Bush, All Movie Guide