Bernard Musson Movies

Although the title evokes a swashbuckling adventure, Roman Polanski's Pirates tuns out to be a seagoing tale with a bit of a difference. Captain Red (Walter Matthau) runs a hardy pirate ship with the able assistance of Frog, a dashing young French sailor (Cris Campion). One day Capt. Red is captured and taken aboard a Spanish galleon, but thanks to his inventiveness, he raises the crew to mutiny, takes over the ship, and kidnaps the daughter of the governor of Maracaibo (Charlotte Lewis, soon to co-star in The Golden Child opposite Eddie Murphy). The question is, can he keep this pace up? ~ Eleanor Mannikka, All Movie Guide

Jane Birkin stars in this sex farce as a young British prostitute in Paris who, after her soft-core business fails, decides to go big-time and incorporate herself, selling stock to four disparate investors. ~ Kristie Hassen, All Movie Guide

In this parody of James Bond movies, a dullard of a spy novelist finds himself the subject of an English sociology student's term papers. She travels to his Paris apartment to do her research and their relationship is interspliced with episodes from the writer's newest book that features his popular hero Bob St. Clair, master spy and anithesis to the writer, and his lovely assistant Tatiana, (who is of course, the lookalike of the lovely student). The spy's nemesis is in reality, his pushy publisher. ~ Sandra Brennan, All Movie Guide

In this whimsical French comedy, Cookie (Sheila White) is a tough, sweet little rich girl, and is rather smart, too. She's smart enough and charming enough to outwit her kidnappers by setting one against the other until they have all killed each other or died trying to prove their worth to her. ~ Clarke Fountain, All Movie Guide

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, All Movie Guide

In this charming drama, a department store clerk takes his wife and kids on a Parisian vacation. One day he is out sightseeing by himself when he encounters a fashion model and offers to give her a guided tour. As they amble about, the romantic city casts its spell and the model falls in love with her guide (who has been pretending to be an artist). Finally things come to a passionate head, and the fellow must decide between a fling and his family. He chooses the latter. ~ Sandra Brennan, All Movie Guide

This movie is the first in a trilogy that parodied the popular silent Fantomas serials of director Louis Feuillade, which followed the adventures of the titular master criminal created by writers Pierre Souvestre and Marcel Allain. After a daring jewelry heist signed "Fantomas," police commissioner Juve (Louis de Funès) goes on national television claiming that Fantomas doesn't exist and that there is no reason for public concern. Riding the wave of public interest, journalist Fandor (Jean Marais) publishes a bogus interview with the master criminal. Fantomas (also played by Jean Marais) doesn't appreciate the joke and kidnaps Fandor to teach him a lesson. A master of disguise, he pulls an even more daring robbery wearing the Fandor mask. Comic relief is provided by commissioner Juve's awkward attempts to capture the elusive arch-criminal. ~ Yuri German, All Movie Guide

Danielle Darrieux stars in this Belgian chiller as a songstress whose obsessively jealous husband suddenly dies. Feeling free for the first time in years, Darrieux inaugurates a romance with Michel Auclair. But even now she is the victim of her husband's omnipresence; evidently returning from the grave, the dead man haunts both Darrieux and her new lover. If you've seen Diabolique, you may catch on to a few of this film's many plot twists. Oddly, Murder at 45 R.P.M (produced in 1960, released in the US five years later) is frequently absent from the published resumes of both Danielle Darrieux and Michel Auclair. ~ Hal Erickson, All Movie Guide

Gary Cooper more or less repeats his international-roue characterization from 1938's Bluebeard's Eighth Wife for the 1957 romantic comedy Love in the Afternoon (both films were co-scripted by Billy Wilder, who also directed the latter picture). Audrey Hepburn co-stars as the daughter of Parisian private eye Maurice Chevalier. Investigating the amorous activities of Cooper, Chevalier relates what he's discovered to cuckolded husband John McGiver, who declares that he's going after Cooper with a pistol. Overhearing this conversation, Hepburn rushes off to rescue Cooper. She keeps him far away from McGiver by adopting a "woman of the world" pose. Cooper quickly sees through this charade; still, she is fascinated by Hepburn and attempts to relocate her after she disappears. Meeting Chevalier one day, Cooper relates the story of the Mystery Woman, never dreaming that he is describing Chevalier's daughter. Equally in the dark, Chevalier offers to locate the elusive Hepburn. Once he's tumbled to the fact that his quarry is his own flesh and blood, Chevalier advises Hepburn against contemplating a relationship with the much-older Cooper. She, of course, fails to heed this warning, setting the stage for an ultraromantic finale. Love in the Afternoon is highlighted by a superb running gag involving a quartet of gypsy violinists, who insist upon dogging Cooper's trail wherever he goes-including a steam bath. Love in the Afternoon was adapted by Wilder and I.A.L. Diamond from the novel Ariane by Claude Anet. ~ Hal Erickson, All Movie Guide