Sacha Gordine Movies

If this had been a western, the older gunfighter would have taught his younger rival a thing or two about the perils of a scandalous reputation before passing on the torch and (more than likely) dying tragically just as he is about to reform. Instead, in this film based on a novel celebrating the exploits of the legendary seducer Casanova, the younger competition is humbled by the fiftyish fugitive from justice because, in the art of seduction, experience is everything. In the story, Casanova (Alain Delon) is a fugitive from the wrath of the authorities of France and Italy, and he is being sheltered beneath the roof of an old friend, for whom he once did an important favor. The friend has an attractive niece, whose charms interest the almost elderly roué. However, he has two problems: his friend's wife is an old conquest who has been longing for him to show up and bed her for almost twenty years, and the niece is being courted by a handsome young soldier whose ambition is to outdo Casanova in the area of amorous adventures. ~ Clarke Fountain, Rovi

Eddie Roback (Dane Clark), an American army deserter turned criminal, is going to trial in Paris after a ten-month delay when he is sprung on his way to court in a pitched gun battle. A manhunt ensues with the police just a few paces behind, including a nicely staged scene in a department store in which Roback manages to improvise an escape, only to be standing by across the street from his intended destination as his waiting confederates are taken by the police. Investigators try to get ahead of him by reaching out his girlfriend, Denise Vernon (Simone Signoret). Feigning innocence, she makes contact with the wounded Roback, who is turned away by his former associates in his attempts to find shelter and escape. She eventually finds him a hiding place in the studio of Max Salva, a lecherous photographer with a sadistic streak, who may have given Roback up to the police. Denise tries to find him a way out of the country, with money from an American writer, Frank Clinton (Robert Duke), while the police slowly catch on to Roback's whereabouts, drawing the net ever closer. Several battles of wits unfold at once, drawing the viewer in, across intertwining, overlapping plot elements. Even nature raises its hand against Roback as a crippling fog slows his seemingly easy escape to Belgium. All of the players are drawn together for a final confrontation that is every bit as violent as anything seen in American crime films of the period. ~ Bruce Eder, Rovi

Recovering from his disastrous experience with the never-completed La Fleur de L'Age, French filmmaker Marcel Carne proved he hadn't lost his touch with La Marie du Port. Played by Nicole Courcel, the eponymous Marie is the younger sister of Odile (Blanchette Burnoy). Odile in turn is the mistress of been-there-done-that Chatelard (Jean Gabin). Upon meeting Marie, Chatelard's cynicism melts away. Still, he merely toys with the girl's affections--at least until he discovers that Odile is carrying on an affair with Marie's boyfriend. Chatelard stops Marie from committing suicide, and for the first time in his life really means it when he pledges his undying devotion. Like many French films of the era, La Marie du Port was but a shadow of its former self when the American censors got through with it. ~ Hal Erickson, Rovi

This is just a casual observation, but it's highly possible that more film adaptations of the works of Fyodor Dostoyevsky were made in France than in Russia. In 1946 there appeared a faithful (if by necessity truncated) French version of the Russian novelist's The Idiot. Gerard Philipe plays the title character, Russian prince Myshkin, who returns to St. Petersburg after a stay in a Swiss mental hospital. The Prince is not literally a mental midget; he is considered an idiot because, as an honest and upright person, he cannot keep pace with the evil in the world. He busies himself with the petty problems of his aristocratic friends, which drive him back into the recesses of insanity. Edwige Feuillere costars as Nastasia, the woman of loose morals who turns out to be the only person who truly cares about Myshkin's welfare, while Lucien Coedel plays the nominal villain of the piece, an iconoclastic flour merchant named Rogozhin, whose passion for Nastasia culminates in tragedy. L'Idiot was remade in Japan by Akira Kurosawa in 1951, and in Russia in 1959. ~ Hal Erickson, Rovi