Pather Panchali

Also known as: Song of the Little Road, la Complainte du sentier

Genre: coming-of-age drama (in black and white)

With: Subir Bannerjee* (Apurba ‟Apu” Ray), Kanu Bannerjee (Harihar Ray, his father), Karuna Bannerjee (his mother Sarbojaya), Uma Das Gupta (his sister Durga), Chunibala Devi (Aunt Indir Thakrun), Runki Banerjee (young Durga), Tulsi Chakraborty (Prasanna, the school teacher), Binoy Mukherjee (Baidyanath Majumdar)  

Director: Satyajit Ray

Screenplay: Bibhutibhushan Bandyopadhyay, Satyajit Ray

Release: 1955

Studio: Government of West Bengal

Rating: -

MBiS score: 8.9/10

Aparajito

Also known as: The Unvanquished

Genre: coming-of-age drama (in black and white)

With: Smaran Ghosal (Apu as a teenager), Pinaki Sengupta (Apu as a youngster), Karuna Bannerjee (his mother Sarbojaya), Kanu Bannerjee (his father Harihar), Ramani Sengupta (Bhabataran), Sudipta Roy (Nirupama), Kalicharan Roy (Akhil the press owner)

Director: Satyajit Ray

Screenplay: Satyajit Ray, Kanailal Basu (based on Bibhutibhushan Bandyopadhyay’s novel)

Release: 1956

Studio: Epic Films (Private) Ltd.

Rating: -

MBiS score: 8.7/10

 

Apu Sansar

English title: The World of Apu

Also known as: le Monde d’Apu

Genre: psychological drama (in black and white)

With: Soumitra Chatterjee (Apu), Sharmila Tagore (Aparna), Alok Chakravarty (Kajal), Swapan Mukherjee (Pulu), Shanti Bhattacherjee (the co-worker), Abhijit Chatterjee (Aparna's brother), Dhiren Ghosh (the Landlord)

Director: Satyajit Ray

Screenplay: Satyajit Ray (based on Bibhutibhushan Bandyopadhyay’s original story)

Release: 1959

Studio: Satyajit Ray Productions

Rating: -

MBiS score: 8.8/10 

 

‟He does nothing great. He remains poor, in want. But he never turns away from life.” 

 

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Story-line: the Apu (pronounced Oh-poo) trilogy spins the tale of young Apurba and the poor Ray family over the years 1910 to 1930. PATHER PANCHALI, set in the Indian village of Nischindipur, introduces us to the five members of the clan: (1) Harihar, the happy-go-lucky father who works part-time as a priest but has trouble finding other work, (2) his wife Sarbojaya, a constant worrier, (3) Durga, their sometimes erratic daughter, (4) Apu, their young son whose childhood will be marred by adult realities, and (5) the old and pitiable Aunt Indir. As a group, they struggle mightily to make ends meet and events seem to conspire against them. In APARAJITO, the narrative turns to Apu’s teenage years and his ardent desire to go to school. In APU SANSAR, our grown-up protagonist sees his life veer off in unexpected ways because of personal choices and his friendship with Pulu, a former classmate.

Pluses: priceless performances by young and old actors alike, airy, sober and literally perfect direction, packed, thoughtful and realistic screenplays that take viewers on an epic journey full of drama and touching moments, eloquent and informative cinematography, fine editing, modest but authentic-looking production values (notably the locations, both natural and man-made), a lovely, strongly supportive musical score by Ravi Shankar and a memorable climax in APU SANSAR.

Minuses: for a Westerner like me, the APU TRILOGY is a cultural leap, a wholly different, exotic world that I learned to understand, albeit too modestly, and embrace. Don’t let the trilogy’s total runtime (5 hours, 41 minutes) intimidate you… it is all thoroughly enlightening. On a personal level, I have avoided these great movies for a long time and it was clearly a mistake; if you do have a chance to see them, go for it... you can watch them online for free.   

Comments: Satyajit Ray made cinematic history with this triple masterpiece about a little man who dared to hope, marvel at the world and dream about the future despite poverty and personal struggles. Apu’s learning experience makes for riveting cinema, the kind that leaves you speechless as classic movies often do. Enough said. 

  

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*Please note that proper names in this review have alternate spellings. My apologies to any and all concerned.

 

 Strangers on a Train

Genre: crime thriller (in black and white)

With: Farley Granger (Guy Haines), Ruth Roman (Anne Morton), Robert Walker (Bruno Antony), Leo G. Carroll (Senator Morton), Patricia Hitchcock (Barbara Morton), Kasey Rogers (Miriam Joyce Haines), Marion Lorne (Mrs. Antony), Jonathan Hale (Mr. Antony), Howard St. John (Police Capt. Turley)

Director: Alfred Hitchcock

Screenplay: Raymond Chandler, Czenzi Ormonde, Whitfield Cook and Ben Hecht (from the novel by Patricia Highsmith)

Release: 1951

Studio: Warner Bros. Pictures, First National

Rating: PG

MBiS score: 8.6/10 

 

‟Criss-cross.” 

 

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Story-line: on the train from Washington to New York City, tennis player Guy Haines meets Bruno, an avid fan but mostly an obnoxious fellow. He manages to shake off this unwelcome admirer but is forced to share a table with him in the dinner car. It is then, while speaking candidly about life, that Bruno says ‟I've got a theory – that you should do everything before you die.” And, in this pesky man’s parlance, ‟everything” can even mean murder.

Pluses: excellent performances by Farley Granger (as Guy the straight man) and Robert Walker, fine support from a good cast (especially Kasey Rogers and Patricia Hitchcock who steals the show with her zingers), flawless direction by a master of the genre, a suspenseful and very logical screenplay that sticks to business and creates a cold, macabre mood, several perversely funny moments that temper the drama (the test of strength, Mrs. Antony’s painting and the little cowboy), fine cinematography, adequate production values and an effective musical score (Dimitri Tiomkin).

Minuses: none I can think of… and I watched this movie intently.

Comments: the credible and efficient STRANGERS ON A TRAIN recalls the closed-in, ghoulish atmosphere of another Hitchcock thriller, ROPE, but surpasses it with its more compelling story – about evil thoughts, revenge, remorse and other human weaknesses – and its great villain, the insidious and inescapable Bruno. It plays like an itch that won’t go away and dares you to scratch back. Could anyone but Hitchcock make a movie as tense and entertaining as this one? Some… but not many.    

 

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Applaus

English title: Applause

Genre: psychological drama

With: Paprika Steen (Thea Barfoed), Michael Falch (Christian Barfoed), Otto Leonardo Steen Rieks (William Barfoed), Noel Koch-Søfeldt (Matthias Barfoed), Sara-Marie Maltha (Maiken), Lars Brygmann (George), Shanti Roney (Tom), Uffe Rørbæk Madsen (Peter)

Director: Martin Zandvliet

Screenplay: Anders Frithiof August and Martin Zandvliet

Release: 2009

Studio: Koncern TV-og Filmproduktion, New Danish Screen, Nordisk Film-& TV-Fond 

Rating: R

MBiS score: 8.1/10

  

Bitterness on Stage, Struggles in Real Life    

 

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Story-line: APPLAUS begins with a scene from a stage play in which Martha, a hard-drinking woman, shows her love but also her captiousness toward her husband George. The film then focuses on Thea, the actress behind Martha, and her efforts to start anew after an addiction to alcohol and her failed marriage.

Pluses: first-rate acting by all, highlighted by Paprika Steen’s enormous screen presence and eloquent face, adept direction that faithfully tends to the drama, a serious, non-linear screenplay populated by likeable characters in dicey situations and featuring sometimes acerbic dialogues, crisp cinematography (especially close-ups), solid production values, an understated but helpful musical score and a suitably open ending.

Minuses: none I can think of.

Comments: as it alternates between snippets of Edward Albee’s Who's Afraid of Virginia Woolf? and episodes from Thea’s life before, during and after rehab, the modest but interesting APPLAUS weaves a touching, very human story of people in flux. Thea is determined to do better but her progress is often slowed by her frustration and the tentativeness of people around her. Although I can’t give it more than an 8.1 rating, this European film – a fitting companion to DAYS OF WINE AND ROSES – is as worthy as any and a good bet for movie buffs who like their dramas grounded and thoughtful. When fences have been broken, mending them is hard to do.  

 

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Haine (la)

English title: Hate

Genre: social drama (in black and white)

With: Vincent Cassel (Vinz), Hubert Koundé (Hubert), Saïd Taghmaoui (Saïd), Karim Belkhadra (Samir), Marc Duret (‟Notre Dame”), François Levantal (Astérix), Édouard Montoute (Darty), Mathieu Kassovitz (the Skinhead), Vincent Lindon (the drunk man), Benoît Magimel (Benoît), Rywka Wajsbrot (Vinz's Grandmother), Olga Abrego (Vinz's Aunt), Laurent Labasse (Cook), Choukri Gabteni (Saïd's Brother)

Director: Mathieu Kassovitz

Screenplay: Mathieu Kassovitz

Release: 1995

Studio: Egg Pictures, Kasso Inc. Productions et al.

Rating: 13+

MBiS score: 8.6/10 

 

‟You know what's right and wrong?” 

 

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Story-line: Paris. The opening scene takes place in a banlieue (in this special context, a suburban area plagued by social problems). Scornful and defiant, a rioter blames the police for the injuries suffered by his homeboy Abdel, yelling ‟It’s easy for you to shoot. We don’t have guns, only rocks.” LA HAINE follows three locals, Vinz, Saïd and Hubert, as they pick up the pieces on the day after the riot.

Pluses: very credible acting by Vincent Cassel (a restless, vindictive Vinz), Hubert Koundé, Saïd Taghmaoui and a strong cast, breathless direction, a realistic and striking screenplay whose dramatic twists still leave room for a few offbeat moments (Vinz’s rendition of the famous TAXI DRIVER monologue and the old man’s story about Siberia), fine cinematography, production values that provide stimulating samples of youth culture, a varied musical score (reggae, soul, hip hop) and a thought-provoking ending.

Minuses: cops use brutality and racist slurs in their frequent confrontations with local youths. The movie contains scenes of delirious mayhem.

Comments: due to its lifelike depiction of a world where young men from minority groups are left out and constantly belittled by the police, LA HAINE is not a film you can easily dismiss. Violence begets violence in such a way that nothing makes sense anymore; what matters is the faceoff, the affirmation of one’s identity and power. Some youths see a way out of this desperate world – like Hubert who has chosen boxing as an escape route – while others remain stranded and hopeless. Mathieu Kassovitz has crafted a film that withstands the test of time… a turbulent, dangerous and mesmerizing movie whose potency I cannot fully describe. Here’s how Roger Ebert explained it appropriately in 1996 : ‟Hate” is, I suppose, a Generation X film, whatever that means, but more mature and insightful than the American Gen X movies. In America, we cling to the notion that we have choice, and so if our Gen X heroes are alienated from society, it is their choice--it's their "lifestyle." In France, Kassovitz says, it is society that has made the choice. 

 

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Badlands

Also known as: Balade sauvage (la)

Genre: crime drama 

With: Martin Sheen (Kit Carruthers), Sissy Spacek (Holly Sargis). Warren Oates (Daddy Sargis), Ramon Bieri (Cato, Kit’s co-worker), Alan Vint (Tom the Deputy), Gary Littlejohn (Sheriff), John Carter (Scarborough the Rich Man), Bryan Montgomery (Boy), Gail Threlkeld (Girl), Charles Fitzpatrick (Clerk), Howard Ragsdale (Boss), John Womack Jr. (Trooper)

Director: Terrence Malick

Screenplay: Terrence Malick

Release: 1973

Studio: Warner Bros., Pressman-Williams, Jill Jakes Production

Rating: 14A

MBiS score: 8.4/10

  

And if you can't be with the one you love, honey
Love the one you're with* 

 

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Story-line: we find ourselves in 1959 and the setting is Fort Dupree, South Dakota. At 15, Holly Sargis is still somewhat of a child but she knows that life can be cruel, having lost her mother at a very early age and left Texas with her father to start anew up north. One day, a 25-year-old garbageman named Kit sees her twirling a baton in front of her house. They talk, something clicks and her life suddenly seems more promising… but her instincts tell her to keep this a secret. She’s quite sure Daddy Sargis wouldn’t approve of a guy like Kit Carruthers…

Pluses: vivid performances by Sissy Spacek (a lovestruck, trustful Holly) and Martin Sheen (as a foolhardy fellow obsessed with James Dean), good support from Warren Oates and cast, no-frills direction, a strong screenplay built on enigmatic characters, insightful voice-overs and precise dialogues, faultless production values, a diverse musical score and a stunning ending.

Minuses: the screenplay illustrates – but fortunately does not condone – Kit’s glamorous conception of crime.

Comments: the patently dark BADLANDS follows Holly and Kit on the road to adventure as they develop an ambivalent, aimless relationship based on personal needs (which don’t include housework) and a romanticized view of life on the lam. Filmed as a more modest, subdued version of BONNIE AND CLYDE, Terrence Malick’s seminal film remains stunning in its disenchantment and recklessness bordering on nihilism. As I write this review, one question from the dialogues echoes in my mind: ‟Then why'd you do it?” Your answer, movie buffs, will be as good as mine…  

 

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*Love the One You’re With, music and lyrics by Stephen Stills (inspired by Billy Preston).

Excalibur

Genre: medieval legend  

With: Nigel Terry (King Arthur), Nicol Williamson (Merlin), Helen Mirren (Morgana), Nicholas Clay (Lancelot), Cherie Lunghi (Guenevere), Paul Geoffrey (Perceval), Gabriel Byrne (Uther Pendragon), Keith Buckley (Uryens), Katrine Boorman (Igrayne), Robert Addie (Mordred), Liam Neeson (Gawain), Corin Redgrave (Cornwall), Niall O'Brien (Kay), Patrick Stewart (Leondegrance)

Director: John Boorman

Screenplay: Rospo Pallenberg and John Boorman (based on the book by Thomas Malory, adapted by Rospo Pallenberg)

Release: 1981

Studio: Cinema '84, Orion Pictures thru Warner Bros.

Rating: PG

MBiS score: 8.8/10 

 

‟God, send us a true king. We are unworthy... but the land bleeds, the people suffer.” 

 

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Story-line: in a rudderless, divided Britain of centuries past, two warriors, Uther and Cornwall, battle each other to rule the land. Desperate for victory, Uther retrieves Excalibur – the Sword of Power – with the help of sorcerer Merlin and brandishes it before Cornwall who acknowledges defeat and Uther’s kingship. Peace, however, will last mere hours as the new king falls hopelessly for Igrayne, Cornwall’s wife, during a feast offered to celebrate their truce. Thus begins, with a flurry of violence and lust, the legend of Arthur, Guenevere, Lancelot and the Knights of the Round Table.

Pluses: impassioned acting by Nigel Terry, Nicol Williamson (a formidable, enigmatic Merlin), Helen Mirren (the poisonous Morgana) and a strong cast, efficient, highly impressive direction that balances storytelling wizardry and cinematic artistry, a powerful and profound screenplay highlighted by quasi-mystic dialogues reminiscent of Shakespeare, magnificent and at times dreamlike cinematography, commendable editing, grandiose production values (sets, exteriors, costumes) that splendidly recreate the sights and sounds of olden times and an excellent musical score that heightens every mood and event (Carl Orff’s Carmina Burana is especially topical here).

Minuses: a warning is in order: a couple of scenes are gruesome and even barbaric.

Comments: you may have noticed that, as a movie fan, I am not particularly attracted to fantasies and mythical tales (I have only seen one STAR WARS episode and none from the LORD OF THE RINGS series) but I was very keen on seeing EXCALIBUR, a time-tested retelling of the old British legend. And guess what? It didn’t disappoint me one bit. Truth be told, this is an overwhelming piece of cinema, a thrilling, spooky, spectacular show! Tragedy, mayhem, love, treachery, sorcery, the eternal struggle between good and evil… and, for anglophiles out there, poetry in motion. ‟What does it mean to be king?” asks Arthur. ‟You will be the land, and the land will be you”, answers Merlin. ‟If you fail, the land will perish. As you thrive, the land will blossom.” 

 

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Shadows

Genre: social and interracial drama (in black and white)

With: Ben Carruthers (Benny Herd), Lelia Goldoni (Lelia), Hugh Hurd (Hugh), Anthony Ray (Tony Russel), Dennis Sallas (Dennis), Tom Reese (Tom), David Pokitillow (David, Lelia’s friend), Rupert Crosse (Rupert, Hugh’s agent), David Jones (Davey Johnson), Jack Ackerman (Jack)

Director: John Cassavetes

Screenplay: John Cassavetes

Release: 1958

Studio: Lion International

Rating: PG

MBiS score: 8.2/10 

 

‟I am what I am. And nobody tells me what to do.” 

 

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Story-line: the setting is New York City’s artistic scene in the late 1950s. Benny, a fledgling jazz trumpeter, owes money around town and likes to chase girls with friends Tom and Dennis. Hugh, his older brother, tries to make it as a nightclub singer but his career has hit a wall. As for their young sister Lelia, both Benny and Hugh look after her protectively as she learns about life and love. That’s where Tony comes in… and problems ensue.

Pluses: excellent, natural-looking and wide-ranging performances by Ben Carruthers, Hugh Hurd and particularly Lelia Goldoni, fast-paced, no-frills direction focused on the story itself and human interplay, a serious, loosely structured screenplay that allows its imperfect and somewhat frustrating characters to struggle and evolve through intimate and sometimes kooky situations, informative and atmospheric cinematography, sober production values and a jazzy musical score.

Minuses: because this film is sketchy and improvised, you may find it confusing until you get to know the main characters… but my synopsis will help you figure it out.

Comments: as it follows Benny, Hugh and Lelia through troubles and disappointments, SHADOWS is exactly what it aims to be: an honest, understated slice-of-life drama, a glimpse of people under construction, a series of human experiences in a world of racial differences. This was John Cassavetes’ first try as a director – a promise of things to come – and he let his story meander along unfettered by conventions. As a result, SHADOWS is more authentic than many other films and its truthfulness will please fans of arty, innovative cinema.  

 

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Waterloo

Genre: historical war drama 

With: Rod Steiger (Napoléon Bonaparte), Christopher Plummer (Arthur Wellesley, Duke of Wellington), Orson Welles (Louis XVIII), Jack Hawkins (Gen. Sir Thomas Picton), Virginia McKenna (Duchess of Richmond), Dan O'Herlihy (Marshal Michel Ney), Rupert Davies (Gordon), Philippe Forquet (La Bédoyère), Gianni Garko (Drouot), Ivo Garrani (Soult), Ian Ogilvy (De Lancey), Michael Wilding (Ponsonby), Sergo Zakariadze (Blucher)

Director: Sergey Bondarchuk

Screenplay: H.A.L. Craig, with help from Sergey Bondarchuk and Vittorio Bonicelli (Italian dialogues in another version by Mario Soldati)

Release: 1970

Studio: Dino de Laurentiis Cinematografica, Mosfilm

Rating: -

MBiS score: 8.4/10 

 

‟I don't know what they'll do to the enemy; but, by God, they frighten me.” 

 

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Story-line: on the strength of his military exploits and political savvy, Napoléon became emperor of France (replacing the old monarchy with his own brand of absolutism) and was bent on imposing his will on much of Europe. In time, however, he would face setbacks: his armies were repulsed in 1812 and, two years later, he found himself under siege in Paris. Forced to abdicate, banished to Elba and replaced by King Louis XVIII, he managed to escape in 1815, determined to regain power. His next challenge would be to reclaim his old army and then to face off against Prussian and English troops in a (Belgian) village called Waterloo.  

Pluses: superb acting by Rod Steiger (note how well he conveys Napoléon’s psychology, hyperactivity, mannerisms and physical presence), Christopher Plummer (as the phlegmatic, restrained Wellington) and a stellar cast (Orson Welles and Jack Hawkins are welcome sights), strong direction (especially during the well-choreographed battle scenes), a solid screenplay featuring pointed dialogues, telling scenes and the pathos of battle, splendid cinematography and attentive camera work, studious editing, appropriate production values and an august musical score by Nino Rota.

Minuses: there are scenes of violence, unavoidably so. By focusing solely on the events of June 18, 1815, the film may disappoint viewers interested in context and history generally.

Comments: the battle of Waterloo was immensely important – it involved 140,000 men, 40,000 of them perishing on the day – and Sergey Bondarchuk’s work has done justice to this pivotal, gripping event by insisting on the vicissitudes of war – the strategies chosen, the value of time, the long wait and muffled anxiety, the physical layout of the battlefield, the weather prevailing and the mistakes made. Although spectacular and riveting in many ways, WATERLOO clearly states that, on a human level, war is waste and bloody carnage. On this point, it is especially informative to see the psychological conclusions drawn by the two generals as the dust settled over the dead – the contrast couldn’t be more striking between these two men. Despite its dismaying subject, this movie commands respect. 

 

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Napoléon

Also known as: Napoléon vu par Abel Gance

Genre: historical adventure film (silent; in black and white)

With: Albert Dieudonné (Napoléon Bonaparte), Vladimir Roudenko (Napoléon as a child), Edmond Van Daële (Robespierre), Alexandre Koubitzky (Danton), Antonin Artaud (Marat), Abel Gance (Saint-Just), Gina Manès (Joséphine de Beauharnais), Philippe Hériat (Salicetti), Pierre Batcheff (General Hoche), Nicolas Koline (Tristan Fleuri), François Viguier (Couthon), Max Maxudian (Barras), Annabella (Violine Fleuri and Désirée Clary)

Director: Abel Gance

Screenplay: Abel Gance

Release: 1927

Studio: Ciné France, Films Abel Gance, Isepa-Wengeroff Film GmbH

Rating: -

MBiS score: 8.9/10  

 

‟The destiny of an empire often rests upon a single man.”

  

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Story-line: at Brienne College in 1783, a stern young man shows remarkable leadership and strategic prowess during snowball fights with other students. Later, as an army lieutenant, he embraces the fledgling French Revolution – spearheaded by Danton, Marat and Robespierre – against the reigning monarch and becomes a national hero when France must defend itself against neighbouring kingdoms opposed to its Republican ideals. Said young man, who would later figure in history books worldwide, was a Corsican named Bonaparte… Napoléon Bonaparte.

Pluses: superb performances by Albert Dieudonné and Vladimir Roudenko (playing Napoléon as a fiery, self-assured fellow), Edmond Van Daële (a cunning Robespierre), Alexandre Koubitzky (the popular, passionate Danton), the renowned Antonin Artaud (Marat), Abel Gance (an utterly ruthless Saint-Just) and Gina Manès (a somewhat conceited Joséphine), masterly and dynamic direction, a clear, richly detailed and action-packed screenplay replete with historic references and revelatory snippets (Nelson’s presence at sea, the Suez Canal), remarkable picture composition and cinematography, strong editing, convincing special effects, fine production values and an omnipresent musical score (by Carmine Coppola) that adds to every mood or event.

Minuses: (1) some critics have panned the acting as over-the-top but, IMHO, Napoléon was always a rather hyper dude. (2) Although expertly restored by Kevin Brownlow and BFI National Archive in 2000, the print obviously shows its age – as when you see Napoléon riding his horse at 80 mph! (3) The movie ends with the triumphant Italian campaign of 1796 – giving us a much too glorious portrait of Napoléon as a man – although it does not hide his creeping megalomania and the abuses committed by revolutionary leaders and angry mobs desperate for change. That being said, Napoléon’s on-screen aggrandizement is understandable: Gance’s picture (originally clocked at 480 minutes) was the first segment of a larger (!) work he never completed because his audacity scared off would-be backers.

Comments: at almost three times the length of an Olympic marathon (333 minutes), Abel Gance’s epic stands out in movie history as a stupefying experiment in filmmaking. Always an innovator, Gance was the first to use superimposed images and polyvision (involving three projectors). NAPOLÉON was his only masterpiece – although some of his other works were also worthwhile – but his pioneer spirit would mark the seventh art for all time to come. Breathtaking, relentless, unequivocally modern even a century later, NAPOLÉON is cinema on steroids. The sheer magnitude of this opus will overwhelm you.

 

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Casque d’or

Genre: crime and romance drama (in black and white)

With: Simone Signoret (Marie, a.k.a. ‟Casque d'or”), Serge Reggiani (Georges Manda), Claude Dauphin (Félix Leca), Raymond Bussières (Raymond), William Sabatier (Roland Dupuis), Paul Barge (Inspector Juliani), Odette Barencey (Mother Eugène), Gaston Modot (Danard), Loleh Bellon (Léonie Danard), Jean Clarieux (Paul)

Director: Jacques Becker

Screenplay: Jacques Becker, Jacques Companéez, Annette Wademant and Romi

Release: 1952

Studio: Spéva Films, Paris-Film Production, Robert and Raymond Hakim

Rating: -

MBiS score: 8.7/10

  

A Woman They Could Kill for 

 

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Story-line: the setting is France during the Belle Époque. On a glorious Sunday afternoon, a  close-knit group of men and women arrives at a riverside café. They all look quite content except for one couple, sexy Marie the prostitute and bossy Roland who treats her like dirt. At the café, one member of the group, Raymond, chances upon Georges Manda, an old buddy from reform school. While they chat, Georges notices Marie and she stares at him intensely. Yes, love is in the air… but Roland, as jealous and quick-tempered as he is, doesn’t intend to be a pushover.    

Pluses: excellent performances by the great Simone Signoret (as the sharply-dressed, sharp-tongued Marie), an intense Serge Reggiani, a ruthless Claude Dauphin and a strong supporting cast, top-notch direction, a complex and brilliant screenplay full of spicy dialogues, interesting details and well-drawn characters, true-to-life production values, an effective musical score embracing different styles (popular tunes, romantic interludes, operatic flourishes) and a potent ending.

Minuses: none I can think of. In a literal sense, ‟Casque d'or” means ‟helmet of gold”, a clear reference to Marie’s blond head of hair.

Comments: CASQUE D’OR contains all the elements of a French classic – magnetic protagonists, a torrid love story, rivalries, lust, danger, violence – and is indeed considered a magnum opus in cinema. There is a lot to this movie I cannot reveal because I don’t want to spoil it for you. Why is Manda hiding behind a new identity? The group of revellers at the café… who are they really and what is their connection with Félix Leca, the dealer in wines and spirits? And Marie, is she just playing games, with all those men hovering around her? Jacques Becker’s film will speak to your heart – and to your mind – with its stunning scenes, vigorous drama and flights of lyricism worthy of CARMEN or TOSCA in the world of opera. 

 

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