Georges Marchal Movies

When Patricia Caron (Nicole García) watches a television debate, she is shocked to hear her long-dead husband described as a war criminal and a torturer. Her husband Marcel (Jacques Perrin) had died more than two decades earlier when French troops fought in Algeria -- and although she had been married only a short time before he went off to his death, she was certain that he could never have tortured anyone. Irate and determined to clear her husband's name, she takes the television speaker to court -- where once the case progresses, there are flashbacks to the war and the activities of Captain Marcel Caron. As the court case drags on, director Pierre Schoendoerffer has hewn to acceptable topics and avoided the controversy surrounding the French army's behavior in Algeria. (French forces took over Algiers in 1830 and ruled Algeria as a colony for 132 years. In 1954, Algerian independence fighters started an armed revolt; in 1957, French troops were sent to quell the revolt, but by 1961, French insurgents were fighting alongside Algerians against the loyal French army and were defeated. Finally, on July 3, 1962, France granted independence to Algeria. The French sensitivity to their conduct in this war was still running high when this film was released.) ~ Eleanor Mannikka, Rovi

Nicola (Lou Castel) bears the psychological scars of unbearable guilt. As a boy, he was given the job of looking after his mentally unstable mother and protecting her from herself. One day, he and his sister went instead into a large closet and enacted a childishly intensive "I dare you" bonding ritual, marking one another with the blade of their father's sword cane. While he was occupied in this manner, the boy's mother hung herself and died. Now an adult, he still has an unhealthily strong fixation on his sister. This is so obvious that a girlfriend of his sister's, with whom he has an affair, breaks it off, complaining that she is not interested in being a stand-in for the sister. ~ Clarke Fountain, Rovi

While arch surrealist Luis Bunuel never made a secret of his skepticism about the existence of God, he was also raised as a strict Spanish Catholic and remained fascinated with the church's teaching throughout his life, and his obsessions with both faith and the contradictions of dogma provided the basis for this episodic satiric comedy. Jean (Laurent Terzieff) and Pierre (Paul Frankeur) are two threadbare vagabonds who are making their way from Paris to Spain on a pilgrimage to Santiago de Compostela, where the remains of Saint James are believed to be kept. While Jean and Pierre's journey begins in the 20th Century, as they travel they seemingly develop the ability to move through time and space as they pass through a variety of historical scenes taken from a broad range of theological texts -- and all involving heresy in one form or another. As they walk the long road to Santiago de Compostela (when they can't catch a ride), Jean and Pierre encounter Jesus (Bernard Verley), who decides not to shave his beard to keep his mother happy; a young boy with stigmata and unusual powers; the Marquis de Sade (Michel Piccoli), who patently struggles to teach atheism to a young girl he's captured; an eccentric priest who has an irreversible belief in transubstantiation until he changes his mind; two men who put their debate over Catholic dogma to the test in a duel with swords; and Satan (Pierre Clementi), who shows up just in time for a car wreck. La Voie Lactee (aka The Milky Way) was scripted by Bunuel and his frequent screenwriting collaborator Jean-Claude Carriere; each of the film's historic episodes was adapted faithfully from an actual biblical text or historical account. ~ Mark Deming, Rovi

Belle de Jour dramatizes the collision between depravity and elegance, one of the favorite themes of director Luis Buñuel. Catherine Deneuve stars as a wealthy but bored newlywed, eager to taste life to the fullest. She seemingly gets her wish early in the film when she is kidnapped, tied to a tree, and gang-raped. It turns out that this is only a daydream, but her subsequent visits to a neighboring brothel, where she offers her services, certainly seem to be real. This illusion/reality dichotomy extends to the final scenes, in which we are offered two possible endings. Thanks to a question of copyright and ownership, Belle de Jour disappeared from view shortly after its 1967 release, not even resurfacing on videotape. When it was reissued theatrically in 1994, many critics placed the perplexing but mesmerizing film on their lists of that year's best films. ~ Hal Erickson, All Movie Guide

Napoleon's son is stopped from claiming the throne from his father by their enemies. ~ Rovi

La Guerre Secrete is divided into four separate vignettes, each scene representing a day in the life of international espionage agents. Stories involve a secret agent (Vittorio Gassman) who goes undercover as a kidnapper, an attempt to impede a Russian attack on two submarines, and an undercover agent confronting a traitor in the Berlin offices of the CIA. Linking the stories is Robert Ryan as a US Intelligence chief. Terence Young directed the English-language sequences, while Christian-Jacques and Carlo Lizzani handled the French and Italian sequences, respectively. German director Werner Klinger's name does not appear on the US credits of The Dirty Game, inasmuch as his scenes were cut from all American prints. Dirty Game sank without a trace on its initial release, only to pop up on television, intermittently, throughout the '70s. ~ Hal Erickson, Rovi

Sergio Leone's first solo directorial effort was this colorful sword-and-sandal epic set in ancient Greece. Rory Calhoun stars as Dario, a captain in the Greek army who must travel to the island of Rhodes to destroy the huge bronze statue of Colossus, which hurls molten lead at its attackers. Dario also battles for his life in the arena and saves victims from a torture chamber before the climactic earthquake which brings the Colossus down. Many of the supporting players in this Italian-French-Spanish co-production went on to become regulars in the exploitation films of Jesus Franco. ~ Robert Firsching, Rovi

Released not long before a much more spectacular Cleopatra came along to make Elizabeth Taylor even more famous, this routine drama by Vittorio Cottafavi, a director who favors historical epics, is no competition. The prelude to Cleopatra's demise is the main focus of attention, but in this drama Mark Antony's presence is usurped by the Roman envoy Curridius (Ettore Manni). Curridius travels all the way from Rome to warn Antony that the powers-that-be are not thrilled with his behavior. Along the way, he faces one danger after another and then encounters Cleopatra (Linda Cristal) to make it all seem worth the effort. Gladiators in combat, underwater fights, and other impressive action scenes enliven the story. ~ Eleanor Mannikka, Rovi

This sword and sandal epic set in 217 AD follows the exploits of a courageous gladiator who is taken prisoner on behalf of the Queen of Palmyra. To win her confidence, the gladiator pretends to hate his Roman masters, but as soon as she trusts him, he has his soldiers take her prisoner. Because he has fallen for her, the gladiator has her released and then saves her by claiming that her crimes against the Empire were precipitated by her counselor. Fortunately, the Senates believe it and romance ensues. ~ Sandra Brennan, Rovi

This is a standard drama by Maurice Cloche about an uneven struggle against the excesses of pimps and gangsters. Father Herman (Claus Holm) runs a shelter for hookers, and while he takes care of them, he tries to get them away from the pimps and other men who pose a continual threat to their lives. When a young woman is sought after by one of the gangsters, the good Father and several of the hookers, as well as the woman's fiance, band together to protect her. ~ Eleanor Mannikka, Rovi

The ancient Roman empire is the setting for this sword-and-sandal costume drama about the villainous Princess Amira (Gianna Maria Canale) who plans to poison the rightful heir to the Armenian throne, her younger brother. She has cast her lot with the Scythians, a foreign tribe who want to expand their territory. But a resistance movement is led by Asclepio (Georges Marchal), and when the Roman tribune Marcus Numidius (Ettore Manni) thunders in to set things right, he has Asclepio's underground force as an ally. Large-scale battles and smaller contests in the gladiatorial arena provide plenty of rousing action. ~ Eleanor Mannikka, Rovi

The title Marchands de Filles translates to Girl Merchants. This doesn't mean that the characters are female businessmen. Far from it: the "protagonists" are the heads of a white slavery ring, "merchandising" girls to salacious customers. The plotline is the old one about the innocent young aspiring dancer who is sweet-talked into selling her sexual favors, only to be rescued from a Fate Worse Than Death But Better Than Starving by the timely arrival of the authorities. Agnes Laurent plays the imperiled heroine. Marchands de Filles contains a few rough scenes, but the film seems rather restrained when seen today. ~ Hal Erickson, Rovi

Recharging his creative batteries with a "commercial" venture, director Luis Bunuel came up with the stylish if undistinguished La Mort en ce Jardin (Death in This Garden). Set in a steaming jungle, the film concerns a disparate group of refugees from a despotic military regime. Among these worthies is "good time girl" Djin (Simone Signoret), ageing miner Castin (Charles Vanel) and deaf-mute Marie (Michele Girardon). The deeper the protagonists venture into the jungle, the more Bunuel's patented surrealism begins to surface. Only two of the escapees survive the ordeal, and they aren't necessary the two whom the viewers are rooting for. Some prints of La Mort en ce Jardin bear the title Gina. hel) F Lorsque L'Enfant Paris (When the Child Appears) was adapted from the hit play by Andre Roussin. The story revolves around the efforts of a well-meaning, highly moralistic minister, who wants the government to clamp down on illegitimacy. Complications ensue when the minister's own wife become pregnant--and all evidence indicates that the child is not his. Adding to the protagonist's headaches, his daughter, on the eve of her wedding to a wealthy young man, announces that she, too, may well be in the family way. Not to be left out, the minister's son declares that he thinks he's impregnated his father's secretary! ~ Hal Erickson, Rovi