Jean Galland Movies

San Antonio (Gerarnd Barray) is a suave French police inspector who pretends to turn criminal in order to infiltrate a gang lead by Eastern block scientists. Highlights include two parachuting enemies who battle each other in a free-fall as they plummet to the ground. Jean Richard provides comedy relief as the detective's sidekick in this routine spy actioner. ~ Dan Pavlides, All Movie Guide

In this comedy drama, Salaivin (Maurice Biraud) is a man who lives with his mother (Mona Dol) while holding down a job as a forgettable clerk. When his boss fires him on a whim, Salavin can't find another position and wallows in self pity. ~ Dan Pavlides, All Movie Guide

While there is an element of science fiction to this political satire about Latin American dictatorships, that element is primarily used to promote the storyline and the message, and not as a value in itself. In a make-believe Spanish-speaking country of the Americas, a dictator (Zbigniew Cybulski) rules with the usual degree of corruption but as it turns out, his wife is the one who gives most of the orders. Two story strands are then woven together: a scientist has invented a way to replicate objects and, lo and behold, he discovers he can make a robotic duplicate of the dictator's wife. Meanwhile, an ardent, left-leaning revolutionary who happens to be a dead ringer for the dictator ends up taking over the tyrant's role when he is assassinated. So one has a robotic wife and a fake dictator now running a country which is none the wiser. ~ Eleanor Mannikka, All Movie Guide

A generally destructive atmosphere settles over this New Wave drama about a trio of youths looking to debunk hypocrisy wherever they find it. One of the early films by Claude Chabrol, the tale looks at the relationship of Ronald (Jean-Claude Brialy), Ambroisine (Bernadette Lafont), and Arthur (Charles Belmont). Arthur and Ronald have their differences, but the three join up to knock the air out of the wind-bags of pomposity, puncture the veneer of the gallingly elitist art world, and do combat in other arenas where people are less than honest. But Ronald has not forgotten an early offense he suffered at Arthur's hands, and soon the relationships in the trio start to change. ~ Eleanor Mannikka, All Movie Guide

La Tete Contre Les Muirs (U.S. title: The Keepers) was director Georges Franju's 2nd cinematic offering for 1958, and his first purely fictional film. Franju's prior training in documentaries helps to bring a veneer of reality to this harrowing glimpse within the walls of an insane asylum. Pierre Brasseur plays Marbeau, a traditionalist "head doctor" who takes on the case of young Francois (Jean-Paul Mocky). Though not really insane, Francois has been institutionalized for daring to defy his wealthy father. The story is told from Francois' point of view, as he teeters on the edge of madness during his involuntary internment. The film is essentially a plea for more sensible treatment of the mentally disturbed and the emotionally distressed, calling for much-needed widespread reforms -- something that, alas, was not readily forthcoming in the late 1950s. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

The works of Guy de Maupassant have likely been adapted by more French filmmakers than those of any other author (with the possible exception of Georges Simenon). Max Ophuls harnesses three Maupassant short stories to suit his artistic purposes in Le Plaisir (House of Pleasure). In "The Mask," an aging lothario (Jean Galland) learns more about himself than he cares to when he dons a mask to cover his wrinkles. In "The House of Madame Tellier," the proprietress of a brothel (Madeline Renaud) closes up shop one day for an unusual (for her) personal mission. And in "The Model," both the title character (Simone Simon) and her artist-lover (Daniel Gelin) pay the price for her romantic impulsiveness. Each of the playlets in Le Plaisir explore conflicting sides of human nature -- a theme common to both the works of Maupassant and the films of Ophuls. ~ Hal Erickson, All Movie Guide

Originally released in 1939, Savage Brigade (La Brigade Sauvage) is set during WW I. The story concerns a deadly -- and long-standing -- feud between two Cossack officers, Kalatjeff (Charles Vanel) and Mirsky (Troubetskoy). About to settle their differences on the field of honor, the officers are obliged to forget their personal squabbles when the war breaks out. Throughout the hostilities, Kalatjeff and Mirsky fight side by side against the enemy, with the understanding that they'll do their best to kill each other when peace is declared. As it turns out, their duel does not take place for another 20 years! ~ Hal Erickson, All Movie Guide

Entente Cordiale was adapted from Andre Maurois' Edward VII and his Times. Victor Francen heads the cast as Britain's Prince Edward, who after assuming the throne of England in 1910 strives to bring about a lasting peaceful coexistence between the United Kingdom and France. Both countries are treated with equal respect throughout the film, depicted as intelligent nations willing to avoid war at all costs, but not quite as willing to give up national pride; the infamous Fashoda Incident, which almost resulted in full-scale warfare between Britain and France, is the film's central issue. Scores of historical personages make fleeting cameo appearances, including Queen Victoria (played by Gaby Morlay), Lord Kitchener (Jean d'Yd), French president Loubet (Jean Perrier), Clemenceau (Jacques Baumer) and Lord Balfour (Andre Roanne). Not surprisingly, Entente Cordiale was produced and released at a time when France and England were seriously contemplating a united front against future Nazi incursions into Europe. ~ Hal Erickson, All Movie Guide