Running away 12-years-old Céline hides in a red truck. She meets Peter a Scottish truck driver in his forties. Along the roads the stops and the encounters Céline experiences her first true moments of childhood with lightness and trust. She wants to see it all to discover it all. Peter becomes the friend of her dreams. He offers this wounded child a chance to finally have a normal life.
An inventor and a small-time industrialist Guillaume (Louis De Funes) has come up with something which will take advantage of air pollution and manages to confuse a delegation of Japanese into placing an order for 3 000 of the things. Just a few obstacles stand in the way of his delivering on the order. For one thing he has no factory in which to make them. He decides to dedicate all the extra space in his house to building them though perhaps he should have told his wife (Annie Girardot) first because she seems to have been made unhappy by these developments.
The story of a wacky librarian who impersonates a New York city policeman during a dance contest. When he unexpectedly wins the competition the fast paced comedy begins.
Shot back to back with 'Emanuelle In Prison' 'Violence In A Woman's Prison' is along the lines of 'The Concrete Jungle' and such other caged delights. Laura Gemser plays yet another Emanuelle a reporter who goes to prison undercover on trumped up charges to expose the corruption within the prison and to secure a scoop about the bad conditions run by sadistic warden Lorraine De Selle. Naturally the place is a hellhole. Gemser bares her fabulous body has sex with Gabrielle Tinti dumps a bucket of faeces on a guard and spends time in the hole where she is devoured and chewed on by hungry rats! Extremely kinky as expected with Mattei managing to stage a somewhat bizarre art rape-scene which looks like something from a Tinto Brass movie where the warden and her lover gets horny while watching a girl being raped and beaten up by male inmates (oh yes there are male inmates here too!). Lorraine De Selle is great as the evil warden and there's another loud great soundtrack by Luigi Ceccaralli.
Johan PeeWee and the Smurfs have their hands full when several magic flutes turn up which have the power to make people dance even against their will. The trouble begins when the flutes fall into evil hands.
Prepare for an onslaught of robust breezy humour when the Carry On team take to the great Outdoors.
Setting a Carry On film in a marriage bureau has a certain self-serving obviousness, so it's hardly surprising that Carry On Loving milks the idea for all it's worth. The Wedded Bliss Agency is of course a pretty dubious outfit, being run by Sid (James) and Sophie Bliss (Hattie Jacques), who together are the worst possible argument both for marriage and for their own profession: they constantly snipe at each other, they aren't actually married and their sophisticated computer matching system is in fact a complete fake. The remainder of the team are mostly cast as hapless clients, with predictable but often very funny situations arising from the various mismatches engineered by the agency, such as the inevitable misunderstanding over one client's interest in modelling. Yes, the humour is about as subtle as a flatulent elephant, but you can't help entering into the spirit of the thing. If there's an outstanding performance it has to be that of Imogen Hassall, who handles her transformation from round-shouldered frump to well-bred love goddess with considerable expertise and a genuine sense of fun. On the DVD: The picture ratio is 4:3, and as is usual for this series the disc has no added features, which always seems like a terribly missed opportunity.--Roger Thomas
They're armed they're ready and they're very very dangerous. They're the gung ho shock troops whos mission it is to blast their way into any of the world's 'hot zones' and dish out their own special brand of deadly justice. They're the Delta Force and every one of them would make Rambo look like a dress wearing sissy when it comes to sorting out the bad guys!
Offenbach's 1867 La Vie Parisienne is perhaps the quintessential French comic operetta: a broad satire on Paris society set against the backdrop of the 1867 Exposition and the descent of easily lampooned foreigners on to the city; sharp moments that Molière would be proud of; undercurrents of quick-fire farce, confusion, lust and mistaken identity; and a rich cast of characters racing inexorably to a can-can finale. This 1991 production by the Lyon National Opera presents a welcome opportunity to revel in a uniquely Gallic confection rarely seen outside France. It's also a chance to enjoy one of Offenbach's most inventive, melodic scores in which the starring musical role and many of the best tunes go to the orchestra, here conducted by Jean-Yves Ossonce. This is no accident: the operetta was originally created for a company of actors who relied on pastiche and the composer's help to get them through their "numbers". Not so these singers, of course. As Metella, the languorous courtesan who is responsible for the unravelling debacle, Helene Delavault is in meltingly good voice for her show-stopping rondeau, "A minuit sonnant commence la fete". Her sparring suitors Gardefeu (Jean-Francois Sivadier) and, particularly, Bobinet (Jacques Verzier) combine marvellous visual comedy with fluid singing and there is some dazzling vocal work from the supporting cast. It's a long piece, but hugely enjoyable. On the DVD: La Vie Parisienne has the usual, excellent booklet notes of ArtHaus DVD releases, which go some way to compensate for a disappointing lack of extras. Time, surely, to introduce some on-screen history or cross-references to other relevant works. The picture quality is good and sharp, although the 4:3 format does little justice to Carlo Tommasi's sweeping, stylish sets. The PCM Stereo soundtrack provides an adequate orchestral experience while managing to muffle much of the spoken dialogue. --Piers Ford
Lawrence Hunningford (Julian Sands) becomes insane when as a child he witnesses the tragic drowning of his twin brother in the sands. He becomes gradually schizophrenic and is committed to the clinic. His elder brother Peter (John Hurt) accepts an invitation to teach at the University near the clinic. After Lawrence attempts to end his life Peter discharges his brother from the clinic and moves with him into a huge run down apartment and commits to take care of his brother. But the
The Royal Philharmonic Orchestra & The Royal Choral Society, Conducted by Louis Clark perform The Greatest Hits of Freddie Mercury & Queen, Set to Thrilling Sports Action Legendary Rock group QUEEN was led for two decades by the charismatic flamboyance of lead singer Freddie Mercury. Together with drummer Roger Taylor, lead guitarist Brian May, and bassist John Deacon, the Rock quartet carved out a unique and lasting place in Rock 'n' Roll history, creating classics such as Bohemian Rhapsody...
Caught midway between 1970s soft-porn clunker The Story of O and Bunuel's sado-masochistic fantasy Belle de Jour, the 1968 erotic curio Girl on a Motorcycle is one of Marianne Faithfull's chief claims to notoriety. She stars as Rebecca, a leather-clad, former bookstore clerk in search of sexual fulfilment who flees her dependable schoolteacher husband for a dangerous liaison with Daniel (Alain Delon), a dashing Professor addicted to speed. The story is told entirely in flashbacks as Rebecca rockets along the road, having donned her leathers and walked out on her sleeping husband at the crack of dawn. It all must have seemed fairly daring and provocative in 1968, providing viewers with ample opportunities to view a naked Faithfull at the height of her allure. But today the existential musings of the lead character seem achingly pretentious, the erotic symbolism merely gawky and unintentionally amusing: the sight of Alain Delon with a phallic pipe dangling from his mouth is like something out of a Rene Magritte painting. The sex scenes between Delon and Faithfull are all swamped in a polarised visual effect that, while garish and psychedelic, is dated and distinctly unerotic. Director Jack Cardiff is better known as a cinematographer on classics such as The African Queen and Black Narcissus. Among Cardiff's other directorial credits is a worthy adaptation of DH Lawrence's Sons & Lovers, but Girl on a Motorcycle is a saucy road movie with no final destination. On the DVD: This DVD version is misleadingly presented as being the fully restored and uncut version of the film. Yet it was the US version not the European one that was heavily cut (and titillatingly re-titled "Naked Under Leather"). The restoration certainly does not refer to the print quality: although the colours are vivid and bright, the print used to master the DVD (in 16:9 anamorphic format) is extremely grainy and, at times, speckled with dirt and scratches. Included as one of the special features, a theatrical trailer loaded with innuendo shows just how much the film was marketed to a prurient audience. Director Jack Cardiff provides an audio commentary but has few revelatory things to say about his film beyond technical considerations, and even makes several clunking errors (recalling his casting decisions concerning a scene that takes place in a provincial German café, he raves about how he strove to find authentic French locals!). He does reveal that the film's use of a voice-over was inspired by the internal monologue that forms the basis of James Joyce's Ulysses. Given Cardiff's age and experience one feels that he must have more interesting anecdotes and insights, making this commentary feel like a wasted opportunity. --Chris Campion
Includes the classic Nouvelle Vague (New Wave) Godard films 'Pierrot Le Fou' Made In USA and Prenom Carmen. Pierrot Le Fou: Described as the film where Godard tried everything and almost pulled it off 'Pierrot Le Fou' is his deconstruction of the American crime thriller. Ferdinand escapes Bourgeious society with the babysitter Marianne in tow... When a dead body is found in Marianne's apartment the two lovers head for the South of France to escape being caught up in gangster activities. On an island on the C''te d'Azur Ferdinand is content to read and write poetry but Marianne's impatience gets the better of her and she disappears to join her brother a notorious gun runner. Another dead body is found then armed gangsters arrive on the scene to menace Ferdinand.... Made In USA: A journalist Paula Nelson arrives in Atlantic City France to look for her missing ex-boyfriend Richard Politzer. Her enquiries soon reveal that he is dead murdered by an unknown assassin. Suspecting that Richard may have been the victim of a political intrigue Paula allies herself with gun-toting gangsters and shady police agents to try to uncover the truth.... Prenom Carmen: During a failed bank raid a terrorist named Carmen is seduced by a security guard Joseph. To escape arrest Carmen appears to submit to her obsessed lover and the two take refuge in a seaside apartment. However Carmen remains committed to her terrorist activities and plans a kidnapping whilst pretending to film a documentary for her uncle once a great film director. How will Joseph react to Carmen's apparent indifference to their relationship?
Seven travellers stranded in the Italian countryside accept the hospitality of a kindly castle lord, but what horror awaits them: the family has a curse on it that dooms the eldest daughter of each generation to become an agent of the devil, and guess who's coming home. After a striking opening scene (involving a Nazi officer in 1944 overseeing the birth of his child, which turns out to be... an accursed daughter!), this horror tale drags along at a glacial pace until the visitors settle in enough to take a little time out for sex, which serves as an appetiser to sadistic murders. The guests, ostensibly representative of the Seven Deadly Sins, die in appropriately thematic twists at first, though after gluttony, greed and lust the point gets stretched. This low-budget example of horrotica has its entertaining moments, an appropriately lurid style (courtesy of Belgian director Jean Brismee), and even an appearance by former French matinee idol Jean Servais (Beauty and the Beast). Included are trailers for this and three other Italian exploitation films and an extended introduction by British horror hostess Eileen Daly (which was actually recorded for a different film!), a black-leather Elvira with a whip and a penchant for kink that may not be to the tastes of all audiences. --Sean Axmaker, Amazon.com
Seven travellers stranded in the Italian countryside accept the hospitality of a kindly castle lord, but what horror awaits them: the family has a curse on it that dooms the eldest daughter of each generation to become an agent of the devil, and guess who's coming home. After a striking opening scene (involving a Nazi officer in 1944 overseeing the birth of his child, which turns out to be... an accursed daughter!), this horror tale drags along at a glacial pace until the visitors settle in enough to take a little time out for sex, which serves as an appetiser to sadistic murders. The guests, ostensibly representative of the Seven Deadly Sins, die in appropriately thematic twists at first, though after gluttony, greed and lust the point gets stretched. This low-budget example of horrotica has its entertaining moments, an appropriately lurid style (courtesy of Belgian director Jean Brismee), and even an appearance by former French matinee idol Jean Servais (Beauty and the Beast). Included are trailers for this and three other Italian exploitation films and an extended introduction by British horror hostess Eileen Daly (which was actually recorded for a different film!), a black-leather Elvira with a whip and a penchant for kink that may not be to the tastes of all audiences. --Sean Axmaker, Amazon.com
'Jacques Brel Is Alive and Well And Living In Paris' is an example of the daring kind of 70's filmmaking which is almost unimaginable today using a kaleidoscope of imagery and a heady mix of cinematic styles to epitomize the music of Belgian born writer and singer of classic French cabaret songs Jacques Brel. The film is based on the eponymous hit 1968 Greenwich Village revue which introduced Brel to a larger audience and cemented his reputation as a respected songwriter. Hugely in
A swinging performance of Johann Sebastian Bach's music recorded at the Marktplatz Leipzig July 28th 2000.
A beautiful adaptation of the Henry James novella about a beautiful American girl Daisy whose headstrong ways create quite a stir in European society during the 1800's. Daisy finds herself caught between the affections of two men: European aristocrat Frederick Winterbourne and the suave Italian Mr Giovanelli Daisy's American ways slowly clash with continental etiquette and concern her mother Ms Ezra B Miller who tries to persuade her to act more like a proper lady.
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