Yves Barsacq Movies

This drama looks into the life of French painter Paul Gauguin. Donald Sutherland plays Gauguin as he struggles through a few years in the 1890s in Montmartre after he has come back from his first stay in Tahiti. His new and radical painting style is not amenable to easy acceptance, as witnessed by August Strindberg's rejection of it here. The best segments of this film show the artist at work and talking with his friends, other less successful moments show him in amorous liaisons or in one case, in a fight sequence. Most of all, his dedication to his artistic vision as well as the depth of his personality are elements which maintain interest throughout, in a large part due to Sutherland's insightful portrayal of the artist. ~ Eleanor Mannikka, Rovi

In this French farce, a wealthy young boy decides to teach his father a lesson by buying a man and employing him as his living plaything. The film was later remade in America and called The Toy, starring Richard Pryor and Jackie Gleason. ~ Sandra Brennan, Rovi

Woody Allen's Love and Death is purportedly a satire of all things Russian, from Leo Tolstoy and Fyodor Dostoyevsky novels to Sergei Eisenstein films, but it plays more like a spin on Bob Hope's Monsieur Beaucaire. Allen plays Boris, a 19th century Russian who falls in love with his distant (and married) cousin Sonja (Diane Keaton). Pressed into service with the Russian army during the war against Napoleon, Boris accidentally becomes a hero, then goes on to win a duel against a cuckolded husband (Harold Gould). He returns to Sonja, hoping to settle down on the Steppes somewhere, but Sonja has become fired up with patriotic fervor, insisting that Boris join a plot to kill Napoleon. Intellectual in-jokes abound in Love and Death, and other gags are basic Allen one-liners; for instance, after being congratulated for his lovemaking skills, Boris replies nonchalantly, "I practice a lot when I'm alone." The pseudo-Russian ambience of Love and Death is comically enhanced by the Sergey Prokofiev compositions on the musical track. ~ Hal Erickson, Rovi

Their previous two films made the Charlots, a French jazz and rock ensemble, a successful comedy troupe. In this film the bumbling quartet demolish a bullfight, a lovely vamp's house and the yacht they have gotten jobs on. ~ Clarke Fountain, Rovi

The Brain (Le Cerveau) is a tongue-in-cheek caper film with more twists and turns than a rural Oregon highway. David Niven plays The Brain, so named because it was he who mapped out the British Great Train Robbery (it says here). Now The Brain plans to lift a fortune in NATO money, which is being shipped by train from France to Belgium. Complicating matters are a pair of free-lance thugs (Jean-Paul Belmondo and Bourvil), who hope to steal The Brain's plans and claim the money for themselves. A plot device derived from The Lavender Hill Mob involves a 50-foot replica of the Statue of Liberty. An amusing closing-credits bit caps this exhilarating exercise. ~ Hal Erickson, Rovi

In preparing his romantic comedy Two For the Road, director Stanley Donen decided to utilize many of the cinematic techniques popularized by the French "nouvelle vague" filmmakers. Jump cutting back and forth in time with seeming abandon, Donen and scriptwriter Frederic Raphael chronicle the 12-year relationship between architect Wallace (Albert Finney) and his wife (Audrey Hepburn). While backpacking through Europe, student Finney falls for lovely music student Jacqueline Bisset, but later settles for Hepburn, another aspiring musician (this vignette served as the launching pad for the film-within-a-film in Francois Truffaut's 1973 classic Day for Night). Once married, Finney and Hepburn go on a desultory honeymoon, travelling in the company of insufferable American tourists William Daniels and Eleanor Bron and their equally odious daughter Gabrielle Middleton. Later on, during yet another road trip, Finney is offered an irresistible job opportunity by Claude Dauphin, which ultimately distances Finney from his now-pregnant wife. Still remaining on the road, the film then details Finney and Hepburn's separate infidelities. The film ends where it begins, with Finney and Hepburn taking still another road vacation, hoping to sew up their unraveling marriage. While critics did nip-ups over Stanley Donen's "revolutionary" nonlinear story-telling techniques, audiences responded to the chemistry between Audrey Hepburn and Albert Finney, not to mention the unforgettable musical score by Henry Mancini. Note: many TV prints of Two for the Road are edited for content, robbing the viewer of Finney and Hepburn's delightful "Bitch/Bastard" closing endearments. ~ Hal Erickson, Rovi

In this drama, a highly principled ballet dancer loses her job and is unable to find another. In desperation she takes a job as a burlesque dancer. She becomes quite popular, but she refuses to bare her breasts. Later, after she has a tawdry affair, she faces the grim reality of what she has become and decides to go back to ballet. ~ Sandra Brennan, Rovi

In this crime drama, an amiable, popular middle-age man (Bernard Blier) abruptly changes when he heads out for a nice picnic, sees a half-naked girl, makes a pass at her, gets rejected, and kills her. No one is the wiser and her lover ends up taking the rap. During the ensuing trial, the real killer finds himself on the jury. As he listens, his conscience begins to bother him and he helps get the defendant acquitted but the town community refuses to accept it. ~ Sandra Brennan, Rovi