André Wilms Movies

Gérard Depardieu's version of Tartuffe brings no innovative cinematic flair to the story of an outrageous and daring imposter who passes himself off as a haughty, pious priest (Tartuffe, also played by Depardieu), in order to gain access to the fortune and properties - and daughter - of the gullible merchant Orgon (François Périer). Molière's play was equally daring for its time, and was actually banned for five years until he adjusted the ending to give Tartuffe his come-uppance, and placate the French clergy in the process. Depardieu should have taken the lead of Molière, when he took the lead of this film, and displayed more creative bravado at the helm. ~ Eleanor Mannikka, All Movie Guide

At the suggestion of a friend, Constance (Miou-Miou) places an ad in the paper offering her services as a reader in this romantic comedy drama. Her job leads her to a variety of employers and occasional romantic involvement. Maria Casares plays the widow of an East European general who has Constance read Tolstoy and Marx. Pierre Dux is the local magistrate who prefers to hear the memoirs of the Marquis de Sade. She also has an affair with a harried business executive played by Patrick Chesnais. This film was named the "Best Feature" at the 1988 Montreal World Film Festival. ~ Dan Pavlides, All Movie Guide

France (Catherine Deneuve) is a haughty, bourgeoise wife abandoned by her husband by the side of the road after a vicious quarrel. She meets Charles (Gerard Depardieu), a doctor who has spent the last two nights taking his car engine apart and now can't get it back together. The meeting of the two strangers is the focus of the film, along with their encounters with characters at a truck stop. The lonely doctor understands the disturbed woman who is in denial and who thinks her husband will be coming back for her. ~ Dan Pavlides, All Movie Guide

Tatie Danielle is a black comedy about a widow who is intent on ruining the lives of her great-nephew and his wife. Tsilla Chelton plays the title character, who mourns the death of her husband by tormenting everyone she meets. Eventually, she moves in with her nephew and his vain wife. Soon, her family is at war with Tatie, and takes off for Greece, leaving her in the care of Sandrine (Isabelle Nanty), an au pair who is as equally bitter as Tatie herself. At first the two don't get along, yet the two eventually become friends. However, Sandrine is invited to accompany an American student for an overnight stay at the beach, which would leave Tatie alone for a night. Angered, Tatie fires Sandrine, and while she is alone, she goes into deep depression, eventually setting the family's apartment on fire. The fire becomes a national story, with Tatie cast as a poor old lady and the family labeled as cruel and heartless villains. ~ Stephen Thomas Erlewine, All Movie Guide

This drama was based on the true story of a young German Jew who survived the Holocaust by falling in with the Nazis. Solomon Perel (Marco Hofschneider) is the son of a Jewish shoe salesman coming of age in Germany during the rise of Adolf Hitler. In 1938, a group of Nazis attack Solomon's family home; his sister is killed, and 13-year-old Solomon flees to Poland. Solomon winds up in an orphanage operated by Stalinist forces; when German forces storm Poland, Solomon's fluent German allows him to join the Nazis as a translator, posing as Josef Peters, an ethnic German. In time, "Peters" is made a member of the elite Hitler Youth, but since Solomon is circumcised, he can be easily revealed as a Jew, and he lives in constant fear that his secret will be discovered. Solomon's close calls include an attempted seduction by Robert Kellerman (André Wilms), a homosexual officer, and his relationship with Leni (Julie Delpy), a beautiful but violently anti-Semitic woman who wants to bear his child for the glory of the master race. Europa, Europa (shown in Europe as Hitlerjunge Salomon) also features the real Solomon Perel, who appears briefly as himself. ~ Mark Deming, All Movie Guide

In the 19th century, children -- particularly the children of the poor -- were considered to be an exploitable resource of docile and cheap labor who were paid starvation (literally) wages. Anyone who had the effrontery to steal so much as a portion of a loaf of bread for any reason would (at the very least) go to prison, regardless of their age. As in much of the world, this was true in France in 1847, when this film is set. However, people of conscience were beginning to protest against this situation. The story takes place in a prison for children where conditions are particularly harsh. The warden is a thick-headed martinet who demands complete compliance with the rules, or the children will be brutally dealt with. The assistant warden is a more modern man, and is appalled by the whole institution, but seeks to begin by reforming it. To that end, he has invited a journalist to come and see the conditions that prevail there, in the hopes that she will rouse public opinion against at least this one form of injustice. However, the young prisoners have their own ideas, and when they take over the prison, it is with tragic consequences. ~ Clarke Fountain, All Movie Guide

The makers of this laudatory documentary have caught filmmaker Aki Kaurismaki at work on his film La Vie de Boheme. Aki and his brother Mika have, between them, completely revitalized Finland's native film industry, and their wild, anarchic films have delighted audiences while smashing through old storytelling conventions. They are unusual in being considered as artistically advanced as they are popular with viewing audiences (one of their more successful comedies was Leningrad Cowboys Go America, about a crew of clueless Finnish country-western musicians). Various dignitaries in the modern film world offer their tribute to this exuberant and prolific filmmaker in French or English, and the filmmaker himself offers insights into his views and motivations. ~ Clarke Fountain, All Movie Guide

In the late-18th century, it was unusual for anyone to become a master craftsman before the age of twenty, much less a master clockmaker. In this story, eighteen-year-old master clockmaker Max Bardo (Jonathan Zaccai) has come to the attention of a wealthy aristocratic inventor, who has hired him to repair the clocks in his chateau. When the young man arrives there, the inventor has died, but he is kept on to do the job he was hired for. Before long, he becomes an innocent pawn in the elaborate games of the inventor's upper-class heirs and associates, who are seeking to use the young man in their quest for a legendary device made by the dead man. Soon, Max winds up in a duel with one of the aristocrats. His challenger dies during the duel, but not at Max's hands. Despite the fact that a good number of the onlookers know perfectly well that he is innocent of the killing, the consequences (including an elaborate revenge scheme) fit their plans perfectly. Then as now, the powerless innocent have little defense against the subtle plots of depraved pillars of society. ~ Clarke Fountain, All Movie Guide

This French drama about the relationship between an insanely jealous man and his wife took 30 years to make. Since its inception by the late director Henri-Georges Clouzot the film was plagued with bad luck. He began filming it in 1964. There are only two characters in the film and on the third day of shooting the female lead became gravely ill. Later during rehearsals with a new actress, the director had a heart attack. Though he lived until 1977, he never got around to finishing it. The script was passed on to producer Marin Karmitz by Clouzot's widow. Paul wanted to buy the beautiful resort hotel he worked at for 15 years. His happy and spirited wife Nelly goes along with it. She is already a mother and contented with her life. Paul, who incurred tremendous debts to get the hotel, is not so happy. He is stressed to the breaking point. After he suspects his wife of philandering he slowly goes insane. He also begins increasing his consumption of alcohol and sleeping pills. Their lives become a living hell. ~ Sandra Brennan, All Movie Guide

This French drama, based on an 1850s essay by Thomas De Quincey, examines a brief, fictionalized time period in the life of Professor Kant. The story is set in Kant's hometown, Konigsberg; it chronicles his last few years prior to his death in 1804 at the age of 80. The story looks more at the great thinker's odd, obsessive lifestyle than it does his philosophies. Kant, truly a "mad professor," had himself on a rigid daily schedule. At night he slept in a mummy-wrap. During the day he imbibed tremendous amounts of coffee at rigidly prescribed intervals. The whole town was expected to keep a respectful distance when Kant took his daily walks. Melodrama enters the philosopher's life after his loyal servant for the past thirty years suddenly leaves. ~ Sandra Brennan, All Movie Guide

Aki Kaurismaki's Juha is the fourth adaptation of this love triangle involving a woman and two men. The original story took place in the 18th century and revolved around a former servant girl, Marja, who is married to plain, simple-minded and older Juha, but in love with Russian salesman and 'Casanova' Shemeikka. Kaurismaki's story is set in the late 1970's, shot silent and furnished with captions to disclose the dialogue. It is meant to be watched with live music, preferably with the score's composer Anssi Tikanmaki conducting his own orchestra. Absence of sound (dialogue) is not really new for Kaurismaki, whose 1990 masterpiece Tulitikkutehtaan tyttö/The Match Factory Girl took 17 minutes before a word was uttered. Instead of imitating silent movies, Kaurismaki placed his version of Juha at the moment of the history of silent film when some sound could be used. Acting style and images start somewhere in the late 1920's and towards the end slowly move into the '50's B-movie style. With Timo Salmien behind the lenses, who has been collaborating as cinematographer with Aki and brother Mika Kaurismaki since 1981, and some of the regular cast (such as André Wilms, Elina Salo, Sakari Kuosmanen and Kati Outinen), Juha is distinctively a Kaurismaki film. Published in 1911, well-known Finnish author Juhani Aho's tragic drama has been filmed three times before. The first was Johan in 1920 by Mauritz Stiller, who staged it in provincial Sweden (which was a strange locale for the Finnish audiences). The second, Juha, was brought to screen in 1937 by Nyrki Tapiovaara, who was faithful to the script, but the film was not very successful. The third Juha was by Toivo Sarkka in 1956, and it was also the first Finnish film shot in color. It was the worst of the three, according to film historians, looking like a picture postcard; nevertheless, it was a big box-office hit. ~ Gönül Dönmez-Colin, All Movie Guide