William Friedkin had a great run in the '70s. His hard-nosed police thriller "The French Connection" dominated the 1972 Oscars, winning five Academy Awards including the big prizes for Best Picture, Director, and Actor for Gene Hackman. He followed that critical and commercial success with "The Exorcist," which courted controversy but nevertheless became a box office smash and the first horror movie to receive an Oscar nomination for Best Picture. It also secured a second Best Director nomination for Friedkin.
He might have made it three in a row with "Sorcerer," his gripping remake of Henri-Georges Clouzot's 1953 suspense thriller "The Wages of Fear," if it wasn't for bad timing. It had the misfortune to be released in 1977 a month after "Star Wars," which was smashing it at the box office and well on its way to becoming a global phenomenon. As audiences were swept away by George Lucas's brand of escapist space fantasy,...
He might have made it three in a row with "Sorcerer," his gripping remake of Henri-Georges Clouzot's 1953 suspense thriller "The Wages of Fear," if it wasn't for bad timing. It had the misfortune to be released in 1977 a month after "Star Wars," which was smashing it at the box office and well on its way to becoming a global phenomenon. As audiences were swept away by George Lucas's brand of escapist space fantasy,...
- 5/14/2023
- by Lee Adams
- Slash Film
This unheralded story of the French retreat in 1954 Vietnam is one of the best films ever about guerilla combat. The professional French soldiers do what they can to avoid capture, but the new Lieutenant won’t abandon their wounded. The Alsatian top sergeant fought with the Germans ten years before, yet is the best and fairest man in the unit. Director Pierre Schoendoerffer knows of what he films — he was captured by the Viet Minh at the fall of Dien Bien Phu. With the able camerawork of the legendary Raoul Coutard, the movie feels very realistic; we’re told that it was used to teach military cadets.
The 317th Platoon
DVD
Icarus Films
1965 / B&w / 1:66 widescreen / 95 min. / La 317ème section / Street Date June 29, 2021 / Available from Icarus Films / 29.98
Starring: Jacques Perrin, Bruno Cremer, Pierre Fabre, Manuel Zarzo, Boramy Tioulong, Saksi Sbong.
Cinematography: Raoul Coutard
Film Editor: Armand Psenny
Original Music:...
The 317th Platoon
DVD
Icarus Films
1965 / B&w / 1:66 widescreen / 95 min. / La 317ème section / Street Date June 29, 2021 / Available from Icarus Films / 29.98
Starring: Jacques Perrin, Bruno Cremer, Pierre Fabre, Manuel Zarzo, Boramy Tioulong, Saksi Sbong.
Cinematography: Raoul Coutard
Film Editor: Armand Psenny
Original Music:...
- 6/22/2021
- by Glenn Erickson
- Trailers from Hell
Costa-Gavras, who is still making films at 86, was just a beginner when he made Un homme de trop (a.k.a. Shock Troops) in 1967, and arguably wouldn't hit his true stride until he made the Oscar-winning Z a couple of years later. The '67 movie, a French Resistance drama produced by James Bond mogul Harry Saltzman, was a big-budget flop. But it's also a genuine unknown masterpiece.Speculating as to why the film wasn't a hit, the director supposed that maybe there was "too much action." Action, he said, is easy to do. Well, not for most filmmakers, not the way he does it. The movie is simply incredible—the most headlong film I can think of outside of Mad Max: Fury Road. True, there isn't quite as much fighting as all that—it isn't a single chase one way followed by another chase going back (see also Keaton's The...
- 9/18/2019
- MUBI
William Friedkin’s 1977 thriller, in which four desperate men drive nitroglycerin through an inhospitable jungle, is a tense study in psychological breakdown
Here is a 40-years-on rerelease of William Friedkin’s treasured personal project: his 1977 movie Sorcerer. It’s a study of an existential ordeal, and a reworking of Clouzot’s classic film The Wages of Fear, though avowedly drawing directly on the 1950 source novel by Georges Arnaud. (It’s a story that incidentally still seems to fascinate film-makers: Ben Wheatley is reportedly pondering a remake of his own.)
Sorcerer is a distinctive, gritty and gloomy movie – a determined slow-burner, resisting the traditional structure of narrative and central character. It involves four guys in four desperate situations, each introduced in leisurely vignettes: New Jersey mobster Scanlon (Roy Scheider), crooked Parisian businessman Manzon (Bruno Cremer), Mexican hitman Nilo (Francisco Rabal) and Middle Eastern terrorist Kassem (played by the Moroccan actor Amidou). For individual reasons,...
Here is a 40-years-on rerelease of William Friedkin’s treasured personal project: his 1977 movie Sorcerer. It’s a study of an existential ordeal, and a reworking of Clouzot’s classic film The Wages of Fear, though avowedly drawing directly on the 1950 source novel by Georges Arnaud. (It’s a story that incidentally still seems to fascinate film-makers: Ben Wheatley is reportedly pondering a remake of his own.)
Sorcerer is a distinctive, gritty and gloomy movie – a determined slow-burner, resisting the traditional structure of narrative and central character. It involves four guys in four desperate situations, each introduced in leisurely vignettes: New Jersey mobster Scanlon (Roy Scheider), crooked Parisian businessman Manzon (Bruno Cremer), Mexican hitman Nilo (Francisco Rabal) and Middle Eastern terrorist Kassem (played by the Moroccan actor Amidou). For individual reasons,...
- 11/3/2017
- by Peter Bradshaw
- The Guardian - Film News
Last month, coverage of the 40th anniversary of Star Wars was understandably extensive, with pop-culture publications, daily newspapers, and TV media commemorating a film that by all rights changed the landscape of Hollywood, for better or worse. Conversely, there will likely be relatively little retrospective celebration for William Friedkin’s Sorcerer or Martin Scorsese’s New York, New York, two terrific films released roughly one month later in the week of June 19-25. Though they weren’t the first examples of New Hollywood directors following huge successes with more difficult works that flopped (Peter Bogdanovich’s secretly lovely At Long Last Love comes to mind), they stood in 1977 as back-to-back examples of talented filmmakers – one Oscar-winning, the other well on his way to becoming the most-acclaimed director of his generation – overreaching and failing after becoming a bit too full of themselves.
That is, of course, an oversimplification, just as the other charge popularized by the likes of Peter Biskind – i.e. George Lucas’ grand space opera and Steven Spielberg’s personal blockbusters killed Hollywood’s interest in movies for adults – is an oversimplification. In all truth, it isn’t surprising that audiences didn’t go for Sorcerer or New York, New York, two especially challenging-for-the-mainstream features that pushed their creators’ aesthetics to greater extremes than before while tracking in subject matter that was pessimistic even for the time. But while both films and their troubled productions saw directors burned by their ambition, they are also exceptional works showcasing how exhilarating it can be when all commercial sense goes out the window.
Friedkin’s Sorcerer can lay more claim to having been actively harmed by the arrival of Lucas’ megahit, arriving exactly one month later, on June 25, and competing for a thrill-seeking crowd. (One theater reportedly pulled Star Wars for Sorcerer for a week, only to replace it when Friedkin’s film failed to lure an audience.) The film, a remake of Henri-Georges Clouzot’s 1953 masterpiece The Wages of Fear, was also hurt by its confusing title — named after one of the trucks transporting dynamite through a dangerous jungle to put out an oil fire — and a budget that ballooned from an initially planned $15 million to $22 million following a difficult production.
Friedkin, hot off the Oscar-winning The French Connection and hugely successful The Exorcist, already had a reputation for his temperament and arrogance. They were in full force on Sorcerer: he clashed with cinematographer Dick Bush, who left halfway through filming, as well as producer David Salven, whom Friedkin fired after fights over the expensive location shoots. Friedkin extensively clashed with Paramount brass, sometimes reasonably (kicking executives off set after perceived interference), sometimes amusingly but questionably (the evil oil execs pictured in the film are actually Gulf & Western’s executive board, and they repaid him by not promoting the film). The jungle shoot itself was hell, with about 50 people quitting following injury or illness while Friedkin himself contracted malaria and lost 50 pounds.
But it’s only appropriate that the making of Sorcerer was so desperate, given the story it tells. Friedkin’s worldview has always been bleak and cynical, and Sorcerer may be the purest expression of that. Its heroes are a hard-bitten New Jersey hood (a spectacularly testy Roy Scheider) hiding out after shooting a mobster’s brother, a crooked French banker (Bruno Cremer) on the run following fraud accusations, a Palestinian terrorist (Amidou) behind a Jerusalem bombing, and a Mexican hitman (Francisco Rabal) who gets in on the job after murdering the fourth driver (Karl John), apparently a fugitive Nazi. The film presents their crimes as facts and without real judgment, their rottenness just another bad part of a burned-out, brutal world.
Where The French Connection and The Exorcist gave viewers visceral thrills early on and some sense of right and wrong (even if it’s fatally compromised), the early action in Sorcerer is more painful, with suicide, terrorism, and the loss of friends and partners forming the four prologues introducing the men at this film’s center. Friedkin then drops us into squalor and despair in a small South American town where the heat and rain are nearly as oppressive as the police state, the work is dangerous and pays little, and the mud seems to soak up any sense of hope. It’s little wonder that they might take up the dangerous assignment of driving through an arduous jungle landscape with unstable explosives that could set off at any moment. When you’ve been driven into no man’s land by your sins, any way out is worth it — no matter how unlikely it is that you’ll survive.
The actual drive up to the oil well doesn’t begin until about halfway through and takes on the tone of an unusually fraught funeral march for the protagonists. Friedkin’s immediate, docurealistic style helps ground the proceedings as set-pieces grow more heightened, most memorably when the drivers guide their trucks over a deteriorating bridge as the river beneath it overflows — the most expensive sequence in the film, as well as the most difficult-to-shoot of Friedkin’s career. As Popeye Doyle’s car chase in The French Connection and Regan & Chris MacNeil getting jerked around in The Exorcist evince, Friedkin always had a gift for making scenes that were already dangerous in conception even more tactile and nerve-wracking. Here, his emphasis on the mechanics of the crossing – the snapping rope and wood – as well as the fragility of the bodies attempting to cross (particularly as one rider steps outside to guide the truck and risks getting thrown off or crushed in the process) make the danger of their situation all the more palpable.
Yet there’s a more existential doom permeating the film compared with the nihilism of his earlier efforts, a more complete melding of his hard-bitten style with expressionistic touches that peppered The Exorcist. Part of that comes from Tangerine Dream’s ethereal score, which accentuates a sense that the elements are set against the drivers. But Friedkin also lends the film’s grungy look a sort of otherworldly menace, whether the camera soars through gorgeous greenery while a fire burns in the background or Scheider envisions a stream of blood soaking the dirt. Even the small moments of beauty (e.g. a butterfly hiding from the rain or a woman briefly dancing with Scheider) seem to tease the protagonists and underline their utter hopelessness. By the time we reach a grim conclusion, Friedkin has taken us through a world without mercy or decency, in which fate mocks even the most resilient of us.
Martin Scorsese’s New York, New York, released just a few days earlier on June 21, was less plausibly affected by the release of Star Wars, and more likely the victim of critics and audiences being put off by its mix of glossy, Vincente Minnelli-esque musicality and aggressive, John Cassavetes-influenced verisimilitude. Scorsese, with the story of a creative and personal relationship collapsing under the weight of jealousy in a postwar environment, sought to bring to the forefront the unhappiness lurking under the surface of films such as Meet Me in St. Louis and My Dream is Yours.
It, like Sorcerer, had a difficult production, with the director battling a severe cocaine addiction while breaking up with then-wife Julia Cameron and carrying out an affair with lead actress Liza Minnelli. The film’s herky-jerky rhythms and circular intensity seem to take cues from that tension, the big-band musical numbers clashing with deliberately repetitive improvisations and screaming matches. Scorsese had mixed realism with melodrama (Alice Doesn’t Live Here Anymore) and grit with florid formalism (Taxi Driver) previously, and would go on to marry his classic and New Hollywood interests more palatably in Raging Bull. But New York, New York isn’t a marriage so much as it’s a push-pull war, one that’s sometimes exhausting.
Acknowledging the unattainability of Hollywood fantasies makes it no less vital a love letter. Scorsese opens with an astonishing crane shot on V-j Day as Robert De Niro’s Jimmy gets lost in the excitement of a crowd, only to appear under an arrow that both pinpoints and isolates him. De Niro’s first interactions with Minnelli’s Francine, meanwhile, are less a meet-cute, more an ongoing, insistent harassment that eventually wears down her defenses. The entire opening sequence communicates a sense of spiritual and personal emptiness amid celebration, an early warning that not all is well in the postwar era.
De Niro continues playing Jimmy as a halfway point between his insecure, jealous bruiser in Raging Bull and his relentless, obnoxious pest in The King of Comedy, but Scorsese finds some truth in his and Francine’s romance (even as it’s rotting from the inside out) in their musical performances, with the two finding a better balance and greater chemistry as they perform “You Brought a New Kind of Love to Me.” Their partnership flourishes out of a mutual recognition of talent — or, in his case, recognition of greater possible success together. Still, that balance begins to tip whenever Francine asserts herself, as in a scene where she tries to pep up the band following one of Jimmy’s criticisms, only for him to tear her down. And the film’s most gorgeous images undermine any possibility of happiness between the two, with De Niro proposing (badly: “I love you… I mean, I don’t love you. I dig you; I like you a lot”) in front of a fake forest.
Purposefully, the film’s first two hours give more emphasis to Scorsese’s more discursive side, major arguments between Jimmy and Francine getting interrupted by Jimmy’s ability to get into a minor argument with anyone he encounters. It’s in the final third that focus shifts to the director’s inner formalist and New York, New York turns into a proper musical with the remarkably bittersweet “Happy Endings” sequence. Francine’s finally given a chance to flourish as a performer, unhindered by Jimmy’s jealousy, and Scorsese jumps into an unabashedly stagey finale not unlike that of The Band Wagon or An American in Paris.
Yet the climax still reflects the inherent unhappiness in Francine’s life, telling a story of a relationship ended by success, only to double back and conclude with a wish-fulfillment coda that only makes it more painful. We’ve already seen the truth in the lives of Francine and Jimmy, and no rousing performance of “Theme from ‘New York, New York’” is going to change that. Their final encounter twists the knife further, giving one last tease of possible reconciliation before recognizing that it’s impossible, leaving Jimmy with a final, lonely shot echoing that V-j Day opening.
Audiences and critics largely rejected New York, New York and Sorcerer, with neither film making its budget back or earning the raves their makers had come to expect, but time has been kind to both. They haven’t exactly seen widespread reevaluation as their makers’ best works — Sorcerer wouldn’t be too far off for this writer, and Scorsese’s film has its passionate advocates — but they’ve developed cult followings and at least partly shaken off their previous distinctions as merely ambitious follies. Perhaps it’s appropriate that they’re not as widely cited as Taxi Driver and The Exorcist – they’re pricklier than their more popular predecessors, better suited as advanced viewing than introductory works. They may not generate thousands upon thousands of appreciations 40 years later, but they’re there, waiting for curious viewers to make a discovery.
That is, of course, an oversimplification, just as the other charge popularized by the likes of Peter Biskind – i.e. George Lucas’ grand space opera and Steven Spielberg’s personal blockbusters killed Hollywood’s interest in movies for adults – is an oversimplification. In all truth, it isn’t surprising that audiences didn’t go for Sorcerer or New York, New York, two especially challenging-for-the-mainstream features that pushed their creators’ aesthetics to greater extremes than before while tracking in subject matter that was pessimistic even for the time. But while both films and their troubled productions saw directors burned by their ambition, they are also exceptional works showcasing how exhilarating it can be when all commercial sense goes out the window.
Friedkin’s Sorcerer can lay more claim to having been actively harmed by the arrival of Lucas’ megahit, arriving exactly one month later, on June 25, and competing for a thrill-seeking crowd. (One theater reportedly pulled Star Wars for Sorcerer for a week, only to replace it when Friedkin’s film failed to lure an audience.) The film, a remake of Henri-Georges Clouzot’s 1953 masterpiece The Wages of Fear, was also hurt by its confusing title — named after one of the trucks transporting dynamite through a dangerous jungle to put out an oil fire — and a budget that ballooned from an initially planned $15 million to $22 million following a difficult production.
Friedkin, hot off the Oscar-winning The French Connection and hugely successful The Exorcist, already had a reputation for his temperament and arrogance. They were in full force on Sorcerer: he clashed with cinematographer Dick Bush, who left halfway through filming, as well as producer David Salven, whom Friedkin fired after fights over the expensive location shoots. Friedkin extensively clashed with Paramount brass, sometimes reasonably (kicking executives off set after perceived interference), sometimes amusingly but questionably (the evil oil execs pictured in the film are actually Gulf & Western’s executive board, and they repaid him by not promoting the film). The jungle shoot itself was hell, with about 50 people quitting following injury or illness while Friedkin himself contracted malaria and lost 50 pounds.
But it’s only appropriate that the making of Sorcerer was so desperate, given the story it tells. Friedkin’s worldview has always been bleak and cynical, and Sorcerer may be the purest expression of that. Its heroes are a hard-bitten New Jersey hood (a spectacularly testy Roy Scheider) hiding out after shooting a mobster’s brother, a crooked French banker (Bruno Cremer) on the run following fraud accusations, a Palestinian terrorist (Amidou) behind a Jerusalem bombing, and a Mexican hitman (Francisco Rabal) who gets in on the job after murdering the fourth driver (Karl John), apparently a fugitive Nazi. The film presents their crimes as facts and without real judgment, their rottenness just another bad part of a burned-out, brutal world.
Where The French Connection and The Exorcist gave viewers visceral thrills early on and some sense of right and wrong (even if it’s fatally compromised), the early action in Sorcerer is more painful, with suicide, terrorism, and the loss of friends and partners forming the four prologues introducing the men at this film’s center. Friedkin then drops us into squalor and despair in a small South American town where the heat and rain are nearly as oppressive as the police state, the work is dangerous and pays little, and the mud seems to soak up any sense of hope. It’s little wonder that they might take up the dangerous assignment of driving through an arduous jungle landscape with unstable explosives that could set off at any moment. When you’ve been driven into no man’s land by your sins, any way out is worth it — no matter how unlikely it is that you’ll survive.
The actual drive up to the oil well doesn’t begin until about halfway through and takes on the tone of an unusually fraught funeral march for the protagonists. Friedkin’s immediate, docurealistic style helps ground the proceedings as set-pieces grow more heightened, most memorably when the drivers guide their trucks over a deteriorating bridge as the river beneath it overflows — the most expensive sequence in the film, as well as the most difficult-to-shoot of Friedkin’s career. As Popeye Doyle’s car chase in The French Connection and Regan & Chris MacNeil getting jerked around in The Exorcist evince, Friedkin always had a gift for making scenes that were already dangerous in conception even more tactile and nerve-wracking. Here, his emphasis on the mechanics of the crossing – the snapping rope and wood – as well as the fragility of the bodies attempting to cross (particularly as one rider steps outside to guide the truck and risks getting thrown off or crushed in the process) make the danger of their situation all the more palpable.
Yet there’s a more existential doom permeating the film compared with the nihilism of his earlier efforts, a more complete melding of his hard-bitten style with expressionistic touches that peppered The Exorcist. Part of that comes from Tangerine Dream’s ethereal score, which accentuates a sense that the elements are set against the drivers. But Friedkin also lends the film’s grungy look a sort of otherworldly menace, whether the camera soars through gorgeous greenery while a fire burns in the background or Scheider envisions a stream of blood soaking the dirt. Even the small moments of beauty (e.g. a butterfly hiding from the rain or a woman briefly dancing with Scheider) seem to tease the protagonists and underline their utter hopelessness. By the time we reach a grim conclusion, Friedkin has taken us through a world without mercy or decency, in which fate mocks even the most resilient of us.
Martin Scorsese’s New York, New York, released just a few days earlier on June 21, was less plausibly affected by the release of Star Wars, and more likely the victim of critics and audiences being put off by its mix of glossy, Vincente Minnelli-esque musicality and aggressive, John Cassavetes-influenced verisimilitude. Scorsese, with the story of a creative and personal relationship collapsing under the weight of jealousy in a postwar environment, sought to bring to the forefront the unhappiness lurking under the surface of films such as Meet Me in St. Louis and My Dream is Yours.
It, like Sorcerer, had a difficult production, with the director battling a severe cocaine addiction while breaking up with then-wife Julia Cameron and carrying out an affair with lead actress Liza Minnelli. The film’s herky-jerky rhythms and circular intensity seem to take cues from that tension, the big-band musical numbers clashing with deliberately repetitive improvisations and screaming matches. Scorsese had mixed realism with melodrama (Alice Doesn’t Live Here Anymore) and grit with florid formalism (Taxi Driver) previously, and would go on to marry his classic and New Hollywood interests more palatably in Raging Bull. But New York, New York isn’t a marriage so much as it’s a push-pull war, one that’s sometimes exhausting.
Acknowledging the unattainability of Hollywood fantasies makes it no less vital a love letter. Scorsese opens with an astonishing crane shot on V-j Day as Robert De Niro’s Jimmy gets lost in the excitement of a crowd, only to appear under an arrow that both pinpoints and isolates him. De Niro’s first interactions with Minnelli’s Francine, meanwhile, are less a meet-cute, more an ongoing, insistent harassment that eventually wears down her defenses. The entire opening sequence communicates a sense of spiritual and personal emptiness amid celebration, an early warning that not all is well in the postwar era.
De Niro continues playing Jimmy as a halfway point between his insecure, jealous bruiser in Raging Bull and his relentless, obnoxious pest in The King of Comedy, but Scorsese finds some truth in his and Francine’s romance (even as it’s rotting from the inside out) in their musical performances, with the two finding a better balance and greater chemistry as they perform “You Brought a New Kind of Love to Me.” Their partnership flourishes out of a mutual recognition of talent — or, in his case, recognition of greater possible success together. Still, that balance begins to tip whenever Francine asserts herself, as in a scene where she tries to pep up the band following one of Jimmy’s criticisms, only for him to tear her down. And the film’s most gorgeous images undermine any possibility of happiness between the two, with De Niro proposing (badly: “I love you… I mean, I don’t love you. I dig you; I like you a lot”) in front of a fake forest.
Purposefully, the film’s first two hours give more emphasis to Scorsese’s more discursive side, major arguments between Jimmy and Francine getting interrupted by Jimmy’s ability to get into a minor argument with anyone he encounters. It’s in the final third that focus shifts to the director’s inner formalist and New York, New York turns into a proper musical with the remarkably bittersweet “Happy Endings” sequence. Francine’s finally given a chance to flourish as a performer, unhindered by Jimmy’s jealousy, and Scorsese jumps into an unabashedly stagey finale not unlike that of The Band Wagon or An American in Paris.
Yet the climax still reflects the inherent unhappiness in Francine’s life, telling a story of a relationship ended by success, only to double back and conclude with a wish-fulfillment coda that only makes it more painful. We’ve already seen the truth in the lives of Francine and Jimmy, and no rousing performance of “Theme from ‘New York, New York’” is going to change that. Their final encounter twists the knife further, giving one last tease of possible reconciliation before recognizing that it’s impossible, leaving Jimmy with a final, lonely shot echoing that V-j Day opening.
Audiences and critics largely rejected New York, New York and Sorcerer, with neither film making its budget back or earning the raves their makers had come to expect, but time has been kind to both. They haven’t exactly seen widespread reevaluation as their makers’ best works — Sorcerer wouldn’t be too far off for this writer, and Scorsese’s film has its passionate advocates — but they’ve developed cult followings and at least partly shaken off their previous distinctions as merely ambitious follies. Perhaps it’s appropriate that they’re not as widely cited as Taxi Driver and The Exorcist – they’re pricklier than their more popular predecessors, better suited as advanced viewing than introductory works. They may not generate thousands upon thousands of appreciations 40 years later, but they’re there, waiting for curious viewers to make a discovery.
- 6/21/2017
- by The Film Stage
- The Film Stage
Love’s Connections: Sautet’s Frustrating, Savvy Love Story
Out of the many representations of cinematic emotional complexities French filmmakers master over most is the messy actuality of that thing called love. Director Claude Sautet went on to make Cesar and Rosalie in 1972, his third consecutive film with star Romy Schneider (they would work on five films together, all told) and also his first union with frequent collaborator Yves Montand. An attempt to portray the complicated elusiveness of loving the one you’re with, at its core the film is about a love triangle, with a beautiful woman as the ever shifting apex. Its title is actually misleading, and could easily have been called Rosalie.
Rosalie (Schneider) is currently dating Cesar (Montand), a wealthy scrap metal dealer with significant business connections. As they get ready to attend a wedding, we get the sense he loves her more than she does him,...
Out of the many representations of cinematic emotional complexities French filmmakers master over most is the messy actuality of that thing called love. Director Claude Sautet went on to make Cesar and Rosalie in 1972, his third consecutive film with star Romy Schneider (they would work on five films together, all told) and also his first union with frequent collaborator Yves Montand. An attempt to portray the complicated elusiveness of loving the one you’re with, at its core the film is about a love triangle, with a beautiful woman as the ever shifting apex. Its title is actually misleading, and could easily have been called Rosalie.
Rosalie (Schneider) is currently dating Cesar (Montand), a wealthy scrap metal dealer with significant business connections. As they get ready to attend a wedding, we get the sense he loves her more than she does him,...
- 7/24/2015
- by Nicholas Bell
- IONCINEMA.com
The Sitges Film Festival is typically a feast for horror fans, and this year's event looks to be no different as a big batch of new genre movies has been added to the lineup that's sure to make you drool.
From the Press Release:
The 47th Sitges Film Festival, to be held from 3 to 12 October, will be loaded with films that are all eagerly awaited by fantastic and, especially, horror genre film lovers. Festival Director Àngel Sala has announced the names of a good handful of new films that will be included in Sitges 2014.
These new Festival incorporations have been added to the lineup of an edition that will be opening with Jaume Balagueró’s [Rec] 4: Apocalypse, presenting its Grand Honorary Award to Roland Emmerich, and including presentations of the latest productions from important directors like Jean-Luc Godard, David Cronenberg, Kim-ki Duk, and Takashi Miike. See more details on those...
From the Press Release:
The 47th Sitges Film Festival, to be held from 3 to 12 October, will be loaded with films that are all eagerly awaited by fantastic and, especially, horror genre film lovers. Festival Director Àngel Sala has announced the names of a good handful of new films that will be included in Sitges 2014.
These new Festival incorporations have been added to the lineup of an edition that will be opening with Jaume Balagueró’s [Rec] 4: Apocalypse, presenting its Grand Honorary Award to Roland Emmerich, and including presentations of the latest productions from important directors like Jean-Luc Godard, David Cronenberg, Kim-ki Duk, and Takashi Miike. See more details on those...
- 8/4/2014
- by Debi Moore
- DreadCentral.com
Not to fall into that macho Hemingway bit, but I have to ask: Could it be that the effort it takes to do something that's difficult often results in that thing being done better than if it had been easy? William Friedkin's jungle-location triumph/boondoggle Sorcerer trumps today's event filmmaking with every mud puddle and pit stain, with rain- and sweat-streaked actors who never look like they've just swanned from the trailer to the green screen. In the last hour, plug-uglies played by Roy Scheider, Bruno Cremer, Francisco Rabal, and Amidou drive trucks full of ready-to-blow unstable dynamite over South American mountains for story reasons that don't much matter; it's all terrified eyes boiling in stoic-faced men as mud-caked wheels skirt crumbling cliff sides, each shot like s...
- 5/28/2014
- Village Voice
Sorcerer - Warner Bros. - Blu-ray Director: William Friedkin Cast: Roy Scheider, Bruno Cremer, Francisco Rabal, Peter Capell, Ramon Bieri. Full cast + crew I actually have never seen Sorcerer, but here's what I know: many think it's William Friedkin's greatest film, it's been overshadowed by big commercial hits of his like The Exorcist and The French Connection, and it's a remake of The Wages of Fear. I also know that Warner Bros.' new Blu-ray for the film features a complete remaster of the movie and is the closest possible version of Friedkin's original vision for this film about four men who are transporting dynamite through a South American jungle. Special Features: None beyond a beautiful, proper HD restoration...
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- 4/22/2014
- by Peter Hall
- Movies.com
I interviewed William Friedkin back in 2012 (read part one here and part two here) and asked about the status of Sorcerer back then, knowing of the legal issues it was facing as Paramount and Universal couldn't seem to decide who owned the rights to the film. Friedkin was suing both studios in order to figure that out and hopefully get a remastered version of, what I believe is best called a "cult classic" at this point, the film released. Two years later, it finally arrives courtesy of Warner Home Video in all its tension laden madness. While Friedkin doesn't like the term, Sorcerer is a remake of French director Henri-Georges Clouzot's Wages of Fear (which itself was based on Georges Arnaud's novel), an amazing movie and one I've written about before, including my 2009 review of the Criterion Blu-ray. I can understand Friedkin's aversion to the word "remake" as...
- 4/18/2014
- by Brad Brevet
- Rope of Silicon
William Friedkin: Why Sorcerer’s Spell Refuses to Die
By
Alex Simon
In the mid-1970s, there were few American filmmakers riding as high as William Friedkin. The French Connection swept the 1971 Academy Awards, nabbing Friedkin a Best Director statuette. The Exorcist, released two years later, broke box office records to become one of the top grossing films of all time. Boasting creative power and freedom that most directors could only dream about, Friedkin opted to film an updated version of French auteur Henri-Georges Clouzot’s classic The Wages of Fear (1953).
The result, 1977’s Sorcerer, became one of the most notorious box office bombs of the decade. Its dark, unrelenting tale of four desperate, disparate men (Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou) who undertake a suicide mission by driving truckloads of nitroglycerine across the rugged South American jungle wasn’t what the changing tide of audience tastes were buying then,...
By
Alex Simon
In the mid-1970s, there were few American filmmakers riding as high as William Friedkin. The French Connection swept the 1971 Academy Awards, nabbing Friedkin a Best Director statuette. The Exorcist, released two years later, broke box office records to become one of the top grossing films of all time. Boasting creative power and freedom that most directors could only dream about, Friedkin opted to film an updated version of French auteur Henri-Georges Clouzot’s classic The Wages of Fear (1953).
The result, 1977’s Sorcerer, became one of the most notorious box office bombs of the decade. Its dark, unrelenting tale of four desperate, disparate men (Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou) who undertake a suicide mission by driving truckloads of nitroglycerine across the rugged South American jungle wasn’t what the changing tide of audience tastes were buying then,...
- 4/13/2014
- by The Hollywood Interview.com
- The Hollywood Interview
This Story Has Been Updated From Our Original Posting Of January 6. The Blu-ray Packaging Art Has Been Added And The Title Is Now Available For Pre-order From Amazon.
Good news for fans of William Friedkin's underrated 1977 classic Sorcerer: after years of false starts, the remastered film will now be available on Blu-ray through Warner Home Video. Check out the press release we've just received from them:
Burbank, Calif., January 6, 2014 – William Friedkin’s Sorcerer, the cult suspense thriller that has been largely overlooked since its 1977 release, has now been acquired and fully restored by Warner Bros. Home Entertainment and will make its Blu-ray™ debut on April 22, 2014. The release, also available on DVD, will be packaged as a 40-page Blu-ray book filled with beautiful images from the film and excerpts from the book, “The Friedkin Connection: A Memoir.”
Sorcerer is derived from the same Georges Arnaud novel that inspired Henri-Georges Clouzot's 1953 French classic,...
Good news for fans of William Friedkin's underrated 1977 classic Sorcerer: after years of false starts, the remastered film will now be available on Blu-ray through Warner Home Video. Check out the press release we've just received from them:
Burbank, Calif., January 6, 2014 – William Friedkin’s Sorcerer, the cult suspense thriller that has been largely overlooked since its 1977 release, has now been acquired and fully restored by Warner Bros. Home Entertainment and will make its Blu-ray™ debut on April 22, 2014. The release, also available on DVD, will be packaged as a 40-page Blu-ray book filled with beautiful images from the film and excerpts from the book, “The Friedkin Connection: A Memoir.”
Sorcerer is derived from the same Georges Arnaud novel that inspired Henri-Georges Clouzot's 1953 French classic,...
- 1/22/2014
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Blu-ray & DVD Release Date: April 22, 2014
Price: DVD $12.96, Blu-ray $27.98
Studio: Warner
William Friedkin’s Sorcerer, the 1977 cult suspense thriller will make its Blu-ray debut in a 40-page Blu-ray book filled with images from the film and excerpts from the book Friedkin’s recently published book, The Friedkin Connection: A Memoir.
Sorcerer is derived from the same Georges Arnaud novel that inspired Henri-Georges Clouzot’s 1953 French classic, The Wages of Fear. The film, made following the successes of Friedkin’s The French Connection and The Exorcist, tells the story of four men who end up in a dismal South American town where an American oil company is seeking courageous drivers willing to haul nitroglycerin through 200 miles of treacherous terrain. The four displaced men have nothing to lose so they agree for a small payment of cash.
Roy Scheider (Jaws), Bruno Cremer (Under the Sun), Francisco Rabal (Dagon) and Amidou (Ronin) star in the movie,...
Price: DVD $12.96, Blu-ray $27.98
Studio: Warner
William Friedkin’s Sorcerer, the 1977 cult suspense thriller will make its Blu-ray debut in a 40-page Blu-ray book filled with images from the film and excerpts from the book Friedkin’s recently published book, The Friedkin Connection: A Memoir.
Sorcerer is derived from the same Georges Arnaud novel that inspired Henri-Georges Clouzot’s 1953 French classic, The Wages of Fear. The film, made following the successes of Friedkin’s The French Connection and The Exorcist, tells the story of four men who end up in a dismal South American town where an American oil company is seeking courageous drivers willing to haul nitroglycerin through 200 miles of treacherous terrain. The four displaced men have nothing to lose so they agree for a small payment of cash.
Roy Scheider (Jaws), Bruno Cremer (Under the Sun), Francisco Rabal (Dagon) and Amidou (Ronin) star in the movie,...
- 1/6/2014
- by Laurence
- Disc Dish
Patrice Chéreau dead at 68: French director best known for ‘Queen Margot,’ gay-related dramas (photo: Patrice Chéreau; Isabelle Adjani in ‘Queen Margot’) Screenwriter, sometime actor, and stage, opera, and film director Patrice Chéreau, whose clinically cool — some might say sterile — films were arthouse favorites in some quarters, has died of lung cancer in Paris. Chéreau was 68. Born on November 2, 1944, in Lézigné, in France’s Maine-et-Loire department, and raised in Paris, Patrice Chéreau began directing plays in his late teens. In the mid-’60s, he became the director of a theater in Sartrouville, northwest of Paris, where he staged plays with a strong left-wing bent. Later on he moved to Milan’s Piccolo Teatro, and in the ’80s became the director of the Théâtre des Amandiers in the Parisian suburb of Nanterre. His 1976 staging of Wagner’s Der Ring des Nibelungen in the Bavarian town of Bayreuth was considered revolutionary. Patrice Chéreau...
- 10/8/2013
- by Andre Soares
- Alt Film Guide
Legendary director William Friedkin has just been given a lifetime achievement award at the Venice film festival, but he is still making big, critically acclaimed movies, such as last year's Killer Joe. He looks back on his career, and the film he considers his best, 1977's Sorcerer
On a hot, sticky Tuesday in Venice, the American film director William Friedkin sauntered from his hotel to see an exhibition of paintings at the nearby Doge's Palace. There, he stood in front of Manet's L'Evasion de Rochefort, which depicts the flight of the man who challenged Napoleon III. He saw the little boat packed with indistinguishable figures and the mighty sea churning all around. It struck him that the painting summed up what he thinks of the world: that we're stuck on a boat, at the mercy of nature. Possibly it has something to say about his own career too.
Friedkin is...
On a hot, sticky Tuesday in Venice, the American film director William Friedkin sauntered from his hotel to see an exhibition of paintings at the nearby Doge's Palace. There, he stood in front of Manet's L'Evasion de Rochefort, which depicts the flight of the man who challenged Napoleon III. He saw the little boat packed with indistinguishable figures and the mighty sea churning all around. It struck him that the painting summed up what he thinks of the world: that we're stuck on a boat, at the mercy of nature. Possibly it has something to say about his own career too.
Friedkin is...
- 9/5/2013
- by Xan Brooks
- The Guardian - Film News
William Friedkin's restored 70s film Sorcerer and a space-loving father and son are the talk of the Venice film festival
Jonás and the wail
Alfonso Cuarón wrote the rapturously received opening-night film Gravity with his son, Jonás. There's a scene in the movie that involves Sandra Bullock desperately scanning her space radio to transmit a distress signal but only picking up a conversation with a stranger who identifies himself as Aningaaq. Gravity leaves this conversation dangling as a mystery, but at the opening-night party, Cuarón told me that this voice was in fact a real Inuit man whom his son had met while making a documentary in Greenland. The scene so intrigued that Jonas was inspired to make a short film about the other side of that conversation, shot from the Inuit's point of view, in Greenland. Bullock even provided her voiceover for it. The seven-minute short, called Aningaaq,...
Jonás and the wail
Alfonso Cuarón wrote the rapturously received opening-night film Gravity with his son, Jonás. There's a scene in the movie that involves Sandra Bullock desperately scanning her space radio to transmit a distress signal but only picking up a conversation with a stranger who identifies himself as Aningaaq. Gravity leaves this conversation dangling as a mystery, but at the opening-night party, Cuarón told me that this voice was in fact a real Inuit man whom his son had met while making a documentary in Greenland. The scene so intrigued that Jonas was inspired to make a short film about the other side of that conversation, shot from the Inuit's point of view, in Greenland. Bullock even provided her voiceover for it. The seven-minute short, called Aningaaq,...
- 8/31/2013
- by Jason Solomons
- The Guardian - Film News
DVD Release Date: March 26, 2013
Price: DVD $59.95 each
Studio: MHz Networks
Bruno Cremer is Inspector Jules Maigret.
Bruno Cremer once again stars as the beloved Parisian Inspector Maigret in the latest release of feature-length installments of the popular French TV mystery-crime series Maigret, based on the bestselling crime novels of the legendary Georges Simenon.
Set in 1950s Paris and on the French countryside, the series finds the pragmatic, reserved, and refined Commissaire Jules Maigret investigating murders in his singular unhurried manner (wherein he inevitably discovers the truth). To crack his cases, Maigret peels back the veneer of the seemingly idyllic villages and neighborhoods he sets down in, exposing the criminals lurking in all levels of society.
Presented in French with English subtitles, the unrated Sets 7 and 8, originally broadcast on French television in 2001-2003, contain the following installments:
Maigret: Set 7:
-Maigret and the Wine Merchant
-Maigret and the...
Price: DVD $59.95 each
Studio: MHz Networks
Bruno Cremer is Inspector Jules Maigret.
Bruno Cremer once again stars as the beloved Parisian Inspector Maigret in the latest release of feature-length installments of the popular French TV mystery-crime series Maigret, based on the bestselling crime novels of the legendary Georges Simenon.
Set in 1950s Paris and on the French countryside, the series finds the pragmatic, reserved, and refined Commissaire Jules Maigret investigating murders in his singular unhurried manner (wherein he inevitably discovers the truth). To crack his cases, Maigret peels back the veneer of the seemingly idyllic villages and neighborhoods he sets down in, exposing the criminals lurking in all levels of society.
Presented in French with English subtitles, the unrated Sets 7 and 8, originally broadcast on French television in 2001-2003, contain the following installments:
Maigret: Set 7:
-Maigret and the Wine Merchant
-Maigret and the...
- 4/11/2013
- by Laurence
- Disc Dish
2012 proved by turns an odd and triumphant year for director William Friedkin, who fashioned Matthew McConaughey's performance in the shockingly good “Killer Joe,” but also was forced into dealing with his troubled past, namely the 1977 suspense drama “Sorcerer.” Legal difficulties and lawsuits surrounding the film have plagued the past 12 months for the filmmaker, but now it appears Friedkin may finally gain some peace with his underseen gem. A remake of Henri-Georges Clouzot's impeccable “The Wages of Fear,” “Sorcerer” has heretofore remained in the fabled margins of Friedkin's career, mostly due to its tumultuous production and squabbles with leads Roy Scheider and Bruno Cremer. It also flopped at the box office, taking in just $12 million on a $22 million budget. However, as Friedkin recently tried to revive the film for a new audience, he found that domestic and international partners Paramount and Universal...
- 2/12/2013
- by Charlie Schmidlin
- The Playlist
Pierre Schoendoerffer, who won an Oscar for the 1967 Vietnam War documentary The Anderson Platoon, died following an operation at a hospital outside Paris. The exact cause of death remains unclear. He was 83. While still in his 20s, Schoendoerffer served as a cameraman with the French army in the 1950s. As a result, he was present when the crucial fortress of Dien Bien Phu fell to the Vietnamese guerrilla army in May 1954, thus signaling the end of French rule in Indochina. Following his capture, Schoendoerffer spent four months in a Pow camp before being sent back to France. From the late '50s on, Schoendoerffer directed ten films, both narrative and documentary features, most of them related to his war experiences. As quoted in the New York Times, in 1994 Schoendoerffer explained that “the earth of Indochina still clings to my soul, just like the mud of the trenches used to stick to my boots.
- 3/15/2012
- by Andre Soares
- Alt Film Guide
Bruno Cremer, best known for playing Georges Simenon‘s Inspector Jules Maigret in the long-running (1991-2005) French television series Maigret, died in a Paris hospital on Saturday, Aug. 7. Cremer, who had been fighting cancer for a number of years, was 80. Cremer’s acting career spanned half a century. He began appearing in bit parts in films in the ’50s; following a slow ascent, he landed several major roles in French productions of the ’70s. Most notable among those was Claude Sautet‘s Academy Award-nominated drama A Simple Story (1979), co-starring Romy Schneider and Claude Brasseur. Cremer kept himself busy in the ’80s, but from the early ’90s on his film/TV work was almost exclusively restricted to playing the pipe-smoking Maigret.
- 8/9/2010
- by Andre Soares
- Alt Film Guide
Locarno, Switzerland -- The world premiere of "L'Avvocat" (The Counsel), a thriller written and directed by France's Cedric Anger, was the highlight Monday at the Locarno Film Festival, where it screened in a packed Piazza Grande on a day dedicated to French film.
The film tells the story of a young, ambitious attorney, played by Benoit Magimel, who unwittingly gets involved in the affairs of a mob boss, played by Gilbert Melki. Magimel, Melki and Anger were all on hand for the screening, where they charmed the crowd before hand.
In his comments before the film, Locarno artistic director Olivier Pere also broke sad news to the crowd, announcing that French actor Bruno Cremer had died the previous day at the age of 80.
The day's events also included a roundtable on French film and an invitation-only party to celebrate French film at Locarno's lakeside Lido.
The day's activities follow an...
The film tells the story of a young, ambitious attorney, played by Benoit Magimel, who unwittingly gets involved in the affairs of a mob boss, played by Gilbert Melki. Magimel, Melki and Anger were all on hand for the screening, where they charmed the crowd before hand.
In his comments before the film, Locarno artistic director Olivier Pere also broke sad news to the crowd, announcing that French actor Bruno Cremer had died the previous day at the age of 80.
The day's events also included a roundtable on French film and an invitation-only party to celebrate French film at Locarno's lakeside Lido.
The day's activities follow an...
- 8/9/2010
- by By Eric J. Lyman
- The Hollywood Reporter - Movie News
French actor Bruno Cremer has lost his battle with cancer at the age of 80.
The star died at a hospital in Paris on Saturday after struggling with the disease for several years, his agent France Degand has confirmed.
Cremer began his career in the 1950s and starred in a variety of stage plays, including a starring role as Thomas Beckett in the world premiere of Jean Anouilh's Beckett in 1959.
He starred in films such as director Rene Clement's Is Paris Burning? (1966), The Time to Die (1970), and Noce Blanche in 1989, appearing alongside Vanessa Paradis.
But he will perhaps be best remembered for playing the famous pipe-smoking detective Maigret in the TV series which debuted in 1991 and ran until 2005.
Cremer is survived by his wife Chantal, their two daughters, and a son from a previous marriage.
The star died at a hospital in Paris on Saturday after struggling with the disease for several years, his agent France Degand has confirmed.
Cremer began his career in the 1950s and starred in a variety of stage plays, including a starring role as Thomas Beckett in the world premiere of Jean Anouilh's Beckett in 1959.
He starred in films such as director Rene Clement's Is Paris Burning? (1966), The Time to Die (1970), and Noce Blanche in 1989, appearing alongside Vanessa Paradis.
But he will perhaps be best remembered for playing the famous pipe-smoking detective Maigret in the TV series which debuted in 1991 and ran until 2005.
Cremer is survived by his wife Chantal, their two daughters, and a son from a previous marriage.
- 8/9/2010
- WENN
"Sous le Sable" ("Under the Sand"), the fourth feature from the rising star of new French writer-directors, Francois Ozon, is as fine an example of French art house moviemaking as you can get. Despite its lack of obvious commercial appeal, the movie has proved a big hit with cinemagoers here. With 369,000 admissions in the first 10 days, it is sitting comfortably as one of the top 10 most popular movies in France at the moment.
The plot centers on Marie (Charlotte Rampling), a professor of English literature in a Paris university, and her husband, Jean (Bruno Cremer). The childless couple, happily married for 25 years, are on summer vacation in southwest France. Jean leaves Marie sunbathing on the beach while he goes to swim in the ocean. When Marie wakes up, Jean has disappeared.
She doesn't know whether he has drowned, committed suicide or simply left her. Marie returns to Paris to pick up her life. But with no body to mourn, she is unable to accept her husband's death and enters an emotional no man's land between hope and despair. In her fragile state of mind, she continues to act as if Jean is still alive.
Compared by some to M. Night Shyamalan's "The Sixth Sense", Ozon's movie does bear some resemblance. There's the ghostly presence of Jean, who is always in the apartment when Marie returns home. At first, it's not clear whether Jean has indeed returned or whether he is simply being re-created by Marie in her imagination. But there, similarities end.
Shyamalan's movie was a thriller, and although Jean's disappearance is a mystery, it's not one Ozon is interested in solving. The director has even said he wrote the beginning of the movie without knowing how it was going to end.
At several points, however, it does look as if the plot is about to take a conventional turn and Jean's fate will be revealed. But Ozon's not interested in providing the why and the how of Jean's disappearance but in the intimate details of how Marie reacts to the brutal loss not only of a loved one but also of a way of life and a comfortable routine.
Rampling is superb as a woman pushed to the edge of madness by grief. There is hardly a scene in which she does not appear, and the camera hugs close to her face and body, recording every nuance, every shift in emotion. At 56, there are few actresses who would allow the camera to take such liberties. It's almost unbearable to watch her portrayal of a woman clinging desperately to the structure of her former married life -- her job, dinner parties with friends -- while hysteria is simmering beneath the surface.
SOUS LE SABLE
Arte France Cinema, Euro Space, Fidelite Prods., Haut et Court
Producers: Olivier Delbosc, Marc Missonnier
Director: Francois Ozon
Screenwriters: Francois Ozon, Emmanuelle Bernheim, Marcia Romano, Marina de Van
Director of photography: Antoine Heberle, Jeanne Lapoirie
Production designer: Sandrine Carnaux
Music: Philippe Rombi
Costume designer: Pascaline Chavanne
Editor: Laurence Bawedin
Color/stereo
Cast:
Marie Drillon: Charlotte Rampling
Jean Drillon: Bruno Cremer
Vincent: Jacques Nolot
Amanda: Alexandra Stewart
Gerard: Pierre Vernier
Suzanne: Andree Tainsy2001-03-07
Running time -- 95 minutes
No MPAA rating...
The plot centers on Marie (Charlotte Rampling), a professor of English literature in a Paris university, and her husband, Jean (Bruno Cremer). The childless couple, happily married for 25 years, are on summer vacation in southwest France. Jean leaves Marie sunbathing on the beach while he goes to swim in the ocean. When Marie wakes up, Jean has disappeared.
She doesn't know whether he has drowned, committed suicide or simply left her. Marie returns to Paris to pick up her life. But with no body to mourn, she is unable to accept her husband's death and enters an emotional no man's land between hope and despair. In her fragile state of mind, she continues to act as if Jean is still alive.
Compared by some to M. Night Shyamalan's "The Sixth Sense", Ozon's movie does bear some resemblance. There's the ghostly presence of Jean, who is always in the apartment when Marie returns home. At first, it's not clear whether Jean has indeed returned or whether he is simply being re-created by Marie in her imagination. But there, similarities end.
Shyamalan's movie was a thriller, and although Jean's disappearance is a mystery, it's not one Ozon is interested in solving. The director has even said he wrote the beginning of the movie without knowing how it was going to end.
At several points, however, it does look as if the plot is about to take a conventional turn and Jean's fate will be revealed. But Ozon's not interested in providing the why and the how of Jean's disappearance but in the intimate details of how Marie reacts to the brutal loss not only of a loved one but also of a way of life and a comfortable routine.
Rampling is superb as a woman pushed to the edge of madness by grief. There is hardly a scene in which she does not appear, and the camera hugs close to her face and body, recording every nuance, every shift in emotion. At 56, there are few actresses who would allow the camera to take such liberties. It's almost unbearable to watch her portrayal of a woman clinging desperately to the structure of her former married life -- her job, dinner parties with friends -- while hysteria is simmering beneath the surface.
SOUS LE SABLE
Arte France Cinema, Euro Space, Fidelite Prods., Haut et Court
Producers: Olivier Delbosc, Marc Missonnier
Director: Francois Ozon
Screenwriters: Francois Ozon, Emmanuelle Bernheim, Marcia Romano, Marina de Van
Director of photography: Antoine Heberle, Jeanne Lapoirie
Production designer: Sandrine Carnaux
Music: Philippe Rombi
Costume designer: Pascaline Chavanne
Editor: Laurence Bawedin
Color/stereo
Cast:
Marie Drillon: Charlotte Rampling
Jean Drillon: Bruno Cremer
Vincent: Jacques Nolot
Amanda: Alexandra Stewart
Gerard: Pierre Vernier
Suzanne: Andree Tainsy2001-03-07
Running time -- 95 minutes
No MPAA rating...
"Sous le Sable" ("Under the Sand"), the fourth feature from the rising star of new French writer-directors, Francois Ozon, is as fine an example of French art house moviemaking as you can get. Despite its lack of obvious commercial appeal, the movie has proved a big hit with cinemagoers here. With 369,000 admissions in the first 10 days, it is sitting comfortably as one of the top 10 most popular movies in France at the moment.
The plot centers on Marie (Charlotte Rampling), a professor of English literature in a Paris university, and her husband, Jean (Bruno Cremer). The childless couple, happily married for 25 years, are on summer vacation in southwest France. Jean leaves Marie sunbathing on the beach while he goes to swim in the ocean. When Marie wakes up, Jean has disappeared.
She doesn't know whether he has drowned, committed suicide or simply left her. Marie returns to Paris to pick up her life. But with no body to mourn, she is unable to accept her husband's death and enters an emotional no man's land between hope and despair. In her fragile state of mind, she continues to act as if Jean is still alive.
Compared by some to M. Night Shyamalan's "The Sixth Sense", Ozon's movie does bear some resemblance. There's the ghostly presence of Jean, who is always in the apartment when Marie returns home. At first, it's not clear whether Jean has indeed returned or whether he is simply being re-created by Marie in her imagination. But there, similarities end.
Shyamalan's movie was a thriller, and although Jean's disappearance is a mystery, it's not one Ozon is interested in solving. The director has even said he wrote the beginning of the movie without knowing how it was going to end.
At several points, however, it does look as if the plot is about to take a conventional turn and Jean's fate will be revealed. But Ozon's not interested in providing the why and the how of Jean's disappearance but in the intimate details of how Marie reacts to the brutal loss not only of a loved one but also of a way of life and a comfortable routine.
Rampling is superb as a woman pushed to the edge of madness by grief. There is hardly a scene in which she does not appear, and the camera hugs close to her face and body, recording every nuance, every shift in emotion. At 56, there are few actresses who would allow the camera to take such liberties. It's almost unbearable to watch her portrayal of a woman clinging desperately to the structure of her former married life -- her job, dinner parties with friends -- while hysteria is simmering beneath the surface.
SOUS LE SABLE
Arte France Cinema, Euro Space, Fidelite Prods., Haut et Court
Producers: Olivier Delbosc, Marc Missonnier
Director: Francois Ozon
Screenwriters: Francois Ozon, Emmanuelle Bernheim, Marcia Romano, Marina de Van
Director of photography: Antoine Heberle, Jeanne Lapoirie
Production designer: Sandrine Carnaux
Music: Philippe Rombi
Costume designer: Pascaline Chavanne
Editor: Laurence Bawedin
Color/stereo
Cast:
Marie Drillon: Charlotte Rampling
Jean Drillon: Bruno Cremer
Vincent: Jacques Nolot
Amanda: Alexandra Stewart
Gerard: Pierre Vernier
Suzanne: Andree Tainsy2001-03-07
Running time -- 95 minutes
No MPAA rating...
The plot centers on Marie (Charlotte Rampling), a professor of English literature in a Paris university, and her husband, Jean (Bruno Cremer). The childless couple, happily married for 25 years, are on summer vacation in southwest France. Jean leaves Marie sunbathing on the beach while he goes to swim in the ocean. When Marie wakes up, Jean has disappeared.
She doesn't know whether he has drowned, committed suicide or simply left her. Marie returns to Paris to pick up her life. But with no body to mourn, she is unable to accept her husband's death and enters an emotional no man's land between hope and despair. In her fragile state of mind, she continues to act as if Jean is still alive.
Compared by some to M. Night Shyamalan's "The Sixth Sense", Ozon's movie does bear some resemblance. There's the ghostly presence of Jean, who is always in the apartment when Marie returns home. At first, it's not clear whether Jean has indeed returned or whether he is simply being re-created by Marie in her imagination. But there, similarities end.
Shyamalan's movie was a thriller, and although Jean's disappearance is a mystery, it's not one Ozon is interested in solving. The director has even said he wrote the beginning of the movie without knowing how it was going to end.
At several points, however, it does look as if the plot is about to take a conventional turn and Jean's fate will be revealed. But Ozon's not interested in providing the why and the how of Jean's disappearance but in the intimate details of how Marie reacts to the brutal loss not only of a loved one but also of a way of life and a comfortable routine.
Rampling is superb as a woman pushed to the edge of madness by grief. There is hardly a scene in which she does not appear, and the camera hugs close to her face and body, recording every nuance, every shift in emotion. At 56, there are few actresses who would allow the camera to take such liberties. It's almost unbearable to watch her portrayal of a woman clinging desperately to the structure of her former married life -- her job, dinner parties with friends -- while hysteria is simmering beneath the surface.
SOUS LE SABLE
Arte France Cinema, Euro Space, Fidelite Prods., Haut et Court
Producers: Olivier Delbosc, Marc Missonnier
Director: Francois Ozon
Screenwriters: Francois Ozon, Emmanuelle Bernheim, Marcia Romano, Marina de Van
Director of photography: Antoine Heberle, Jeanne Lapoirie
Production designer: Sandrine Carnaux
Music: Philippe Rombi
Costume designer: Pascaline Chavanne
Editor: Laurence Bawedin
Color/stereo
Cast:
Marie Drillon: Charlotte Rampling
Jean Drillon: Bruno Cremer
Vincent: Jacques Nolot
Amanda: Alexandra Stewart
Gerard: Pierre Vernier
Suzanne: Andree Tainsy2001-03-07
Running time -- 95 minutes
No MPAA rating...
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