Julien Bertheau Movies

Renowned director Constantin Costa-Gavras (whose 1969's feature Z won multiple international awards and was a box office success) tries his hand at an unusual mix of comedy and crime in this story. When a father (Johnny Hallyday) gets out of prison, he comes home to his wife (Fanny Ardant) and two teen-age kids to pick up where he left off. That is to say, he intends to raise his kids right and continue burglarizing his way into the easy life. He joins up again with his old partner Faucon (Guy Marchand), but early on Papa's wily son cons him into making him a partner too. The years go by, and just when the family seems poised for the big time, an obstacle pops up from a totally unexpected sector. ~ Eleanor Mannikka, Rovi

In Jury of One, French filmmaker Andre Cayatte once more probes into the intricacies of the Gallic justice system. Sophia Loren plays the widow of a man reputed to be a gangster. When Loren's son Michel Albertini is accused of murder, his father's reputation practically assures a guilty verdict. Desperately, Loren kidnaps Gisel Casadessus, the wife of prosecuting judge Jean Gabin. In order to save Gisel's life, Gabin acquits Albertini, only to discover that his wife, a diabetic, has died after refusing to take insulin. It is up to the conscience-stricken Loren to mete out final justice against herself. Jury of One was also distributed to English-speaking countries under the title The Verdict. ~ Hal Erickson, Rovi

French film critic Bertrand Tavernier made his directorial debut in The Clockmaker. The title character, played by Tavernier's "alter ego" Philipe Noiret, is benumbed by the nihilistic activities of his son Sylvain Rougerie. Arrested on charges ranging from arson to murder, Rougerie offers the standard-issue explanation: the establishment is full of pigs who deserve to be "offed". Noiret must ask himself if his son's behavior is the result of stifling under the bourgeois lifestyle that Noiret has always championed. The Clockmaker is based on the Georges Simenon story L'Horlonger de Saint-Paul, which was also the French title of this film. ~ Hal Erickson, 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

En Cas de Malheur, literally "in case of accident," is better known by its American title, Love is My Profession. By any name, this Brigitte Bardot vehicle ran into stiff opposition from the Catholic Legion of Decency, severely limiting its U.S. distribution. Bardot plays a nubile small-time thief named Yvette, who becomes the mistress of influential defense attorney Andre (Jean Gabin). Though Andre is able to shower Yvette with jewels and furs, he cannot "buy" her heart, and thus it is that it belongs to handsome young student Mazzetti (Franco Interlenghi). Alas, Yvette is no judge of human nature: attractive though Mazzetti can be, he has a dangerous-and deadly-side. En Cas de Malheur contains a nude scene that has since been reprinted in freeze-frame form innumerable times by both film-history books and girlie magazines. ~ Hal Erickson, Rovi

The raincoated gent of the title is horse-faced French comedian Fernandel, who plays luckless jazz musician Albert Constantin. Thanks to the chicanery of a slick gangster boss, Albert finds himself up to his ears in murder and treachery. The farcical elements of the film are juxtaposed with moments of startling violence, but in the end laughter wins out. American actor John McGiver, in France to film his supporting role in Billy Wilder's Love in the Afternoon, is herein cast as a pivotal character. The Man in the Raincoat (L'Homme à l'Impermeable) was not officially remade as The Tall Blond Man with One Black Shoe (1972), though the similarities between the two films are quite pronounced. ~ Hal Erickson, Rovi

Director Jean Renoir returns to the "people of the soil" of his previous Toni in People of France! (originally La Vie est a nous, or A Life for Us). Using a cast of nonprofessionals, Renoir pontificates on the dehumanization of the capitalist system. The film opens as a group of schoolchildren come across the fact that France is controlled by 200 wealthy families. As the kids put together a scrapbook detailing the lives of these movers and shakers, Renoir cuts away to the emotional damage wrought both intentionally and unintentionally by the insensitivity of the Elite. Not surprisingly, the film concludes with a rally of the French Communist Party. People of France! was in fact financed by the communists, a fact Renoir attributed to his eagerness during this period to work with anyone who espoused an anti-Nazi viewpoint (he also effectively disowned the picture, insisting that while he physically directed it, he really had nothing to do with it creatively). ~ Hal Erickson, Rovi