Gregoire Aslan Movies

After several years at loggerheads with one another, director Blake Edwards and star Peter Sellers reteamed for the slapstick fiesta The Return of the Pink Panther. It looks as though wizard cat-burglar Sir Charles Litton, played by David Niven in the original 1964 Pink Panther but here essayed by Christopher Plummer, is back in business. Dispatched to the Swiss resort town of Gstaad by his long-suffering superior Inspector Dreyfuss (Herbert Lom), Clouseau adopts a series of easily penetrable (and hilarious) disguises to get the goods on Sir Charles and his wife Claudine (Catherine Schell). If you remember A Shot in the Dark, you'll recall that Clouseau's ineptitude turned Inspector Dreyfuss into a twitching homicidal maniac. The same thing happens here, paving the way for the sequel, The Pink Panther Strikes Again. And, as with all the "Panther" movies, we are treated to the insinuating theme music by Henry Mancini, and the animated opening and closing titles. Return of the Pink Panther earned $17 million on its initial release. ~ Hal Erickson, Rovi

The second of special-effects wizard Ray Harryhausen's three Sinbad epics, this film finds the titular hero played by John Philip Law, while the principal villain, Koura, is portrayed by future Dr. Who Tom Baker. The plot sends Sinbad and his crew on a quest for a valuable and magical golden tablet. Harryhausen's "Dynamation" highlights include a six-armed statue, a one-eyed centaur and a flying griffin. Caroline Munro also stars. Golden Voyage of Sinbad was followed by Sinbad and the Eye of the Tiger (1979). ~ Hal Erickson, Rovi

As the Ottoman Empire collapses throughout Turkey in 1922, a number of adventurers from all over the world sign on to protect the locals from thieves and marauders--for a hefty price. Two such mercenaries are Adam Dyer (Tony Curtis) and Josh Corey (Charles Bronson), who are hired by provincial Turkish governor Osman Bey (Gregoire Aslan). Adam and Josh are expected to protect their boss' gold shipment, and to provide safe conduct for Osman Bey's three daughters. Along the way, our "heroes" decide to forget their mission and abscond with the gold, but their plans are foiled by their own inherent ineptitude--and by the bothersome interference of duplicitious Colonel Elci (Fikret Hakan). You Can't Win 'Em All is best described as a "western with fezzes." ~ Hal Erickson, Rovi

Taken from the 1907 comedy play by Georges Feydeau, A Flea In Her Ear is a comedic sex romp about a wife suspicious of her husband's activities away from home. Gabrielle (Rosemary Harris) is convinced her attorney husband Victor (Rex Harrison) is seeing another woman because of his inattention to her amorous needs. Gabrielle sets up a meeting with her husband at a bordello-hotel, and he is completely unaware that the woman he is going to meet will be his own wife. She soon discovers just who is being unfaithful to their wives after meeting a number of lovers and both faithful and unfaithful husbands. Louis Jourdan and Rachel Roberts also star in this light situation comedy containing turn-of the-century-sensibilities that appear somewhat dated in 1968. ~ Dan Pavlides, Rovi

Adapted from the novel by C. Virgil Gheorghiu, this satirical concentration-camp drama from Turkish-born French director Henri Verneuil stars Anthony Quinn as Johann Moritz, a Romanian peasant who experiences the horrors of World War II when the Nazis invade his country. Because local police chief Dobresco (Gregoire Aslan) is anamorous towards Moritz's wife Suzanna (Virna Lisi), he has the lowly fieldhand falsely labeled a Jew and sent to a work camp. Moritz's troubles continue to mount, as his wife is threatened with losing their property unless she divorces him. Also starring Michael Redgrave, La Vingt-cinquième heure is also known as The 25th Hour, though it should not be confused with and bears no resemblance to the 2002 Spike Lee film of the same name. ~ Matthew Tobey, Rovi

This late-'60s spy spoof also borrows a page from late-'50s Alfred Hitchcock, with its everyday man becoming embroiled in the violent and baffling world of international espionage. When American businessman William Beddoes (James Garner) is traveling in Lisbon, he's mistaken for an English spy who's thought to possess a cache of industrial diamonds. Soon he is pursued by Aurora-Celeste da Costa (Melina Mercouri), Steve-Antonio (Tony Franciosa), and a host of other colorful troublemakers, all chasing him for something he doesn't have. Note Bert Kaempfert's music, introducing "Strangers In The Night". ~ Nicole Gagne, Rovi

Films like Bang, Bang, You're Dead helped kill the movie career of Tony Randall in the mid-1960s. Randall plays an innocent oil company representative who gets tied up with a gang of crooks in Morocco. The head criminals, played by Herbert Lom and Klaus Kinski, plunge Randall into the middle of a complex espionage scheme involving the Red Chinese. There is one good scene in a massage parlor, but otherwise the film isn't wacky enough to be funny or intriguing enough to be taken seriously. Produced by the indefatigable Harry Alan Towers, who exercises his usual prerogative of hiring so many "guest stars" that hopefully the audience won't notice the plot deficiencies, Bang, Bang, You're Dead was sneaked out to theatres under several titles: Bang, Bang, Bang! Marrakesh, Our Man in Marrakesh, and I Spy You Spy. ~ Hal Erickson, Rovi

Mervyn LeRoy, one of the best-known directors of Hollywood's Golden Age, wrapped up his career behind the camera with this suspense drama. Kay Stanton (Jean Seberg) is the wife of well-known psychiatrist Neil Stanton (Arthur Hill). Neil's international reputation often keeps him on the road lecturing at medical conferences, leaving Kay alone at home. Bored and craving attention, Kay becomes involved with a handsome Naval officer named Mark Dominic (Sean Garrison), but the affair is often rocky, and one day, in the midst of an argument, Kay accidentally shoots Mark. Convinced that Mark is dead, Kay panics and calls her friend Daphne (Honor Blackman). With Daphne's help, Kay drags Mark's body to a car, and they drive to a deep ravine, where they toss the body in. Shortly afterward, Kay calls the police to report that a dead body is in the ravine, without giving her name. But they learn that the body was not found; as it turns out, Mark was only wounded in the shooting, and he now waits in a hospital ward, recovering from his wounds and suffering from amnesia. Moment to Moment was made at a time when leading lady Jean Seberg was getting most of her work in European films; she wasn't to make a picture for a U.S. studio for another three years. ~ Mark Deming, Rovi

While visiting a vegetarian restaurant, a young writer finds a corpse in the restroom. When he returns with the police, the body is gone. The writer is left with the unlucky fellow's hat -- which leads a certain beautiful woman to believe that his identity is the same as the dead man's. Not only is his life now at risk, but things get increasingly bizarre as he meets up with a mysterious sect of cannibals and with a group of opium-smuggling gangsters. What's more, the woman herself seems to have a diabolical doppleganger. Aimez-Vous Les Femmes? was adapted by Roman Polanski and Gerard Brach from a book by Georges Bardawil. The distinguished Sacha Vierny contributed his cinematographic talent to this black comedy shortly after his successful collaboration (among many) with director Alain Resnais on Muriel, ou le Temps d'un Retour/Muriel, or the Time of Return (1963). ~ Kristie Hassen, Rovi

In this comedy, crooks on the lam hide-out in an abandoned island monastery. Along with their leader, the robbers put on monks' habits and begin living a quiet pastoral existence centered around raising animals and crops. It takes them a while to get the hang of it. As they learn, they are occasionally visited by tourists, and at once point, by real monks. Trouble ensues when one of the "brothers" is caught gambling in town. ~ Sandra Brennan, Rovi

In this drama, from director Anthony Asquith, the lives and stories of three different people are linked together by their possession of an unusual car, a yellow Rolls Royce Phantom II. Lord Frinton (Rex Harrison) is a diplomat who purchases the exquisite auto as a gift for his wife (Jeanne Moreau). After Frinton's horse wins the Royal Gold Cup, Lady Frinton incurs the Lord's wrath when she is caught in the back seat of the Rolls with his underling John Fane (Edmund Purdom). In the 1930s, the car is bought by Italian gangster Paolo Maltese (George C. Scott), who is carrying on with the hatcheck girl Mae Jenkins (Shirley MacLaine). The two take a tour of Italy and see all the historic sights, but Mae is less than impressed. While Paolo is in the United States on one of his frequent hit-man assignments, Mae and a street photographer try out the back seat for comfort and carnal pleasure. Art Carney plays Paolo's associate Joey. In the final episode, Gerda Millett (Ingrid Bergman) is the married American woman who buys the car in 1942. With Hitler attacking Yugoslavia the brave and brazen beauty helps fight the Nazis by smuggling Davich (Omar Shariff) across the border, and this duo also find themselves in the back seat for a roll in the Rolls. Davich shows his gratitude by shipping the car along with Gerda back to the United States. ~ Dan Pavlides, Rovi

The happy thieves in this international effort are Rex Harrision and Rita Hayworth, both specialists in swiping rare art objects. Their plan to pilfer a priceless Goya involves creating a public diversion at a nearby bullring. Oh, we forgot to tell you: the film was made on location in Madrid, the better for the stars to avoid stiff taxes. Though both seem too old for this sort of fluff, Harrison and Hayworth make the most of the comic opportunities afforded them by the script. Produced by Hayworth's then-husband James Hill, Happy Thieves was based on a novel by Richard Condon, who later turned out such efforts as The Manchurian Candidate and Prizzi's Honor. ~ Hal Erickson, Rovi