Edith Scob Movies

The last frantic days before the Germans seized France in 1940 provide an unlikely backdrop for this dark comedy. Viviane (Isabelle Adjani) is a glamorous and well-known film actress who attracts the attentions of many men -- often many she has no interest in knowing. One night, at a reception following the premiere of her latest picture, Viviane finds herself pursued by Beaufort (Gérard Depardieu), a government official whose girth exceeds his charm. To throw him off her trail, Viviane allows a cranky older man, André Arpel (Nicolas Vaude), to escort her home. During the evening, Viviane and André quarrel, and after slapping him, she discovers that he has simply dropped dead. An understandably terrified Viviane calls a former boyfriend, Frédéric Roger (Grégori Derangère), and asks him to help her get rid of the body. In hopes of reviving their romance, he agrees, but after an auto accident, Frédéric is caught with the body, and is taken to jail to await his trial. When word gets out that German troops are due to arrive in Paris at any minute, Frédéric and his fellow prisoners are instructed they're to be moved out of town; Frédéric is handcuffed to petty thief Raoul (Yvan Attal), and en route the two are able to make their escape. When Frédéric learns that Viviane has fled to Bordeaux, along with much of the French upper crust, he makes his way there, where he finds he has a new rival for her affections -- Beaufort, who no longer seems such a poor prospect. ~ Mark Deming, All Movie Guide

This rather esoteric Portuguese-French drama is filled with poetic imagery. It is notable for it's beautiful photography as it follows a devoted nurse from her Portuguese home to the strange Cape Verde islands. Mariana is the nurse assigned to care for the injured immigrant worker Leao who is in a coma. With him she returns to his Cape Verde village. She was dissatisfied with her currently depressing life and willingly went. She begins to feel almost claustrophobic in the grim environment as she encounters a series of disturbing characters who drag her deeper into their depressing and hopeless lives. Mariana begins to reevaluate her former life. ~ Sandra Brennan, All Movie Guide

Vidocq (1775-1857) was a noted French detective who was one of the great trailblazers of modern criminal investigation; he's been credited with establishing the first private investigation firm, and pioneered a number of scientific techniques that are still being used today. Vidocq was also a master of disguise and a former thief with no small sense of adventure, and his exploits have been fodder for a number of novels, plays, and motion pictures in France; Vidocq is a high-tech retooling of his legend that employs cutting-edge digital technology to bring a new visual dazzle to his story. Vidocq (Gerard Depardieu) dies an unexpected death while battling his arch-nemesis the Alchemist, and Boisset (Guillaume Canet), an opportunistic journalist, sets out to write his life story, convincing Nimier (Moussa Maaskri), Vidocq's partner, that he had made arrangements with the great man himself to collaborate on such a book before his death. Boisset begins interviewing Vidocq's cohorts, but it seems someone is following the reporter, as his interview subjects have a habit of dying sudden and violent deaths shortly after sharing their stories. As it turns out, the deaths are tied into a case Vidocq investigated, in which a number of people were killed by lightning -- lightning that was conjured up by none other than the Alchemist. Shot on high-definition digital video equipment to allow special effects artists greater latitude to manipulate the images, Vidocq also features Ines Sastre, Andre Dussollier, and Edith Scob. ~ Mark Deming, All Movie Guide

A Swiss actor struggles with social problems and boredom as he tries to extricate himself from an unsatisfied home life. He has an affair with an actress, but the romance leaves him even more empty inside as he continues to suffer from youthful restlessness and dissatisfaction at work and at home. ~ Dan Pavlides, All Movie Guide

Jacques Rivette directed this richly detailed six-hour drama based on the story of Joan of Arc. In Part one, "Les Batailles," Jeanne the Maid (Sandrine Bonnaire) leaves her childhood home in Domremy after hearing what she is sure was the voice of God. She believes that she can help lead France to victory on the battlefield, and she persuades Charles, dauphin of France (Andre Marcon) to allow her to guide his troops. Part two, "Les Prisons," concerns the sad aftermath of Jeanne's defeat at Orleans. Jeanne is sent to prison, where in two separate trials she is tried for heresy and impersonating a man, with both her life and the sanctity of her mortal body at stake. A four-hour version, with each of the two parts trimmed down to two hours, is also available. ~ Mark Deming, All Movie Guide

The characters and plot convolutions of the classic silent French serial Judex are thrust into a 1960s framework in this Georges Franju concoction. Channing Pollock plays a mysterious masked avenger who kidnaps evil-banker Michel Vitold, then sets about to turn the banker's friends and loved ones against him. At first appearing to be as wicked as his captive, Pollock is actually motivated by familial love: his father had been driven to suicide by Vitold. Pollock is successful in destroying his enemy, adding spice to the program by wedding Vitold's daughter Edith Scob. In keeping with the spirit of the original serial, Pollock pops in and out of the plotline decked out in impenetrable disguises. As with his earlier horror film Eyes without a Face (1960), director Franju invests his two-dimensional material in Judex with three-dimensional characters. ~ Hal Erickson, All Movie Guide

Famed French comic Fernandel cannot do much for this uninspired mystery story with intended comedic overtones by director Leo Joannon. Fernandel plays Albert, the unhappy brunt of jokes by his fellow office-workers who goes from the frying pan into the fire. Albert gets caught up in a robbery that also goes from bad to worse when it leads to several murders. Although he is not a killer and essentially innocent, there does not seem to be very much that Albert can do to convince others of the truth. ~ Eleanor Mannikka, All Movie Guide

Caroline Ducey, who previously gained fame by bearing it all in the 1999 dour erotic drama Romance, stars in this drama set in the 14th century. Alienor (Ducey) is provincial lass who puts her skill with herbal cures to use by healing the festering boil on the king's leg. He rewards her with offering her a husband of her choice. Unfortunately, the betrothed Court Bertrand de Roussillon (Melvil Poupaud) refuses to consummate the marriage. Not a woman to let such a setback keep her down, she resolves to use her healing powers to loose her hymen by any means necessary. This film was screened at the 2000 Cannes Film Festival. ~ Jonathan Crow, All Movie Guide

Claude Miller directs this surreal comedy about a woman's nightmarish trip to the hospital. Beset by troubles with her family, her married lover, and her studies, anthropology grad student Claire (Anne Brochet) suffers from fainting spells and migraines. After a couple of unnervingly bizarre consultations with Dr. Fish (Yves Jacques), she is sent to a neurological hospital to recuperate. There she shares a room with Odette (Mathilde Seigner), who was recently paralyzed, and with elderly Eleonore (Annie Noel), who is harmless, though simply stark raving mad. This film was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, All Movie Guide

La Tete Contre Les Muirs (U.S. title: The Keepers) was director Georges Franju's 2nd cinematic offering for 1958, and his first purely fictional film. Franju's prior training in documentaries helps to bring a veneer of reality to this harrowing glimpse within the walls of an insane asylum. Pierre Brasseur plays Marbeau, a traditionalist "head doctor" who takes on the case of young Francois (Jean-Paul Mocky). Though not really insane, Francois has been institutionalized for daring to defy his wealthy father. The story is told from Francois' point of view, as he teeters on the edge of madness during his involuntary internment. The film is essentially a plea for more sensible treatment of the mentally disturbed and the emotionally distressed, calling for much-needed widespread reforms -- something that, alas, was not readily forthcoming in the late 1950s. ~ Hal Erickson, 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

One woman's actions inspire a variety of reactions among those around her in this period drama. Therese (Laetitia Casta) and Firmin (Frédéric Diefenthal) are a young couple of modest means living in France in 1882. Firmin earns a living as a blacksmith, while Therese finds work at an inn. At the inn, Therese makes a point of making the acquaintance of Mme. Numance (Arielle Dombasle), a wealthy woman who is known for her compassion and eagerness to help those less fortunate. When Therese loses her job after getting pregnant, Mme. Numance takes pity on the young couple, and invites them to move into the estate she shares with her husband (John Malkovich). Therese and Mme. Numance become close friends, and before long the lady of the house has come to regard Therese more as a daughter than a guest. But some believe Therese might be using her friendship with Mme. Numance for her own gain, which in their eyes is confirmed when Therese borrows a large sum of money from her benefactors after Firmin develops legal trouble. Therese and Firmin are unable to pay back the Numances, and soon the wealthy couple falls on hard times; those watching these events unfold wonder if Therese deliberately brought the generous family to ruin, or if is it all a product of simple naïveté. Alexandre Astruc helped to adapt the screenplay for Les Ames Fortes, based on the novel by Jean Giono; Astruc was also set to direct the project at one point, but after his unexpected death, Raúl Ruiz stepped up to the director's chair. ~ Mark Deming, All Movie Guide