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Description: Three folks live together without having anything to do with every other. The macho father used to have a shooting gallery which he had to sell. Yet secretly, he keeps on dreaming about it.
Description: An American couple, Paul and Marianne, spend their holiday in Italy and experiences problem when the wife invites a former lover and his teenage daughter to visit, which leads to jealousy and risky sexual scenarios.
Description: After spending 10 years in Paris becoming a talented chef, young Laura Fanton decides to return to her hometown in the mountainous Cevennes zone of France to turn her family home and property into an hotel. She was raised by her grandfather after the death of her parents. Many terrible rumors about her family circulated in the tiny village so her grandfather took her away at a young age. Upon her return she discovers the rumors still circulating and she gets the feeling she is not wanted there but can't receive anyone to say her why. Shortly after her return, the brutal murders of two of her closest mates occur, and she herself is terrorized. It's obvious someone wants her out of the way. As she investigates, she discovers some frightening truths.
Description: Filmed on zone at Alcatraz Island, this two-part "whole story" now concentrates on a handful of the denizens behind the cold grey walls of "The Rock". Michael Beck plays the real-life Clarence Carnes, an Oklahoma Choctaw Indian told to be the youngest boy ever incarcerated in the notorious max safety prison. Serving a 99-year sentence for a gas station holdup and murder, Carnes makes periodic attempts to escape, the final attempt being the most violent. Many of the subordinate characters are fictional (as are most of the features concerning Carnes' escape efforts); the one exception is Robert Stroud, the "Birdman of Alcatraz", here portrayed by Art Carney as a gentle, kindly philosopher. Telly Savalas, a costar of the Burt Lancaster car Birdman of Alcatraz, also guest starred in the 1980 film. Originally titled Alcatraz and Clarence Carnes, this made-for-TV film wavers between gritty realism and "I'm bustin' outta here!" artifice.
Description: This French-Canadian crime/action drama, which satirizes U.S. crime films, was shown at the Cannes Movie Festival in 1972 and was well received. In the picture, perfectly ordinary folks murder, steal, and torture one other with casual abandon in order to solve their daily problems.
Description: The millionaire Diego Verastegui has been murdered at his house, and somebody has taken a valuable briefcase from the safe-deposit box. Dimas -Verastegui's bodyguard- comes back to the house and finds three suspects: Carlos, the millionaire's son, Anna Karina, a sweet girl, and Andres, a bohemian magician. They retell the scenes of the murder from contradictory points of view, every claiming a various ver of who committed the crime.
Description: When Johan and his colleagues are watching Seth and his gang member Jack, they stumble on a larger situation than they expected. Seth is selling arms to terrorists, but without Jack's knowledge, in a vehicle where Johan's old colleague Pernilla mysterious appears. While Johan start researching what Pernilla and SÄPO is doing, Jack suspects that everything is not right with Seth and that he's working with the police. - Written by Movietajm.se
Description: Ruthless assassin for hire breaks the guidelines of his profession and falls for a pretty young woman. Discovering the notorious gangland brothers had hired him to slay her father, his globe breaks down and he gotta turn vs his criminal employers and their gang to save the girl he loves.
Description: Robert spends his nights hunting folks for execution with his anarchic gang. But when he falls in love with one of his victims, he sees a fresh life launch up. Can he escape from his life as a trained assassin in time to save her?
Description: Bill Reardon, a personal detective, is working on a situation involving stolen stuff from a local jewelry store. The situation takes a various turn when Bill's prying wife wants to support catch the crook.
Description: The waitress Gita from the hotel "Bobí vrch" approaches her lover who has not left his wife yet and gives him an ultimatum: if he does not do all according to her wish, she will announce to the police his machinations with foreign currency.
Description: By 1933, Prohibition has proven a booming enterprise, where average citizens break the law, hide in the shadows and operate at night. The fresh globe order has even lined the pockets of corrupt cops like Jack Malone. He collects a 'luxury tax' from each bootlegger and scofflaw in the tiny city he has sworn to protect. While shaking down the recent speakeasy in the local underground, Jack and his boys uncover a guild of vampires hell bent on taking over the town. Actually Chesterfield, an ancient vampire, and his horde gotta hide their secret at any cost. The bloody effect leaves few bodies and innocent townsfolk taken as lambs to await the slaughter. With nowhere else to turn, Jack joins forces with a busboy and a crazy preacher to save the city and create a final stand vs Chesterfield and his vampires.
Description: The true reasons and orchestrators behind Hitler, to an wonderful theory of the JFK assassination, all the method to 9/11 and the actual age of the terrorist. Taken from an historical perspective starting around Globe Fight 1 leading to show day.
Description: On a NYC subway in December 1984, 36-year-old Bernhard Goetz shot four black teenagers he believed were about to mug him. The incident instantly set off a national debate about crime, race relations, vigilantism and the right to self-defense. The inner mindset of Goetz himself, presented primarily through his unapologetic videotaped statement to police, is the main focal mission of the film.
Description: Pierre Lentier murders an 8-year-old in horrendous circumstances. This 30-something solitary factory worker who lives on the edge of society is sentenced to death. A damning indictment of the death penalty and the manipulative behaviour of the media.
Description: Based on the real storyline of an old school Latino Hitman who goes through rehab and repentance after a near death experience, but is forced to fall back into his old methods when his daughter is killed by her jealous boyfriend.
Description: Home Minister Janardhan Jagirdarand chief Minister Anna Saheb are much concerned over the criminal activities of underworld dons Rawal and Rauf Lala. Rawal is operating from Bangkok while Rauf supervises his gang from Mumbai. The popular Encounter Team is activated to counter the gangsters and restore peace in the area. The formidable Sadhu Agashe (Nana Patekar) is requested to take charge of the peace-keeping mission. At first he is reluctant but after continuous insistence, he agrees to open a counter attack vs Rawal and Lala Rauf gangs and the action begins.
Description: On the first night of his London assignment, newsagency reporter John Desmonmd becomes heavily involved with enigmatic Anna Ray. The affair ends when she is shot struggling for a gun she has pulled on him. This is only the begin of his troubles, as Anna worked for a criminal organisation who know Desmond has actually got her valuable contacts list.
Description: The emotional interplay between an arguing couple, in love but not satisfied with their relationship, is meant to be the sustaining force in this crime drama with tiny another action. Thomas (Christophe Malavoy) has been blackmailed into carrying a shipment of explosives in his Peugeot to Egypt, where the devices will be forwarded to guerrillas on Cyprus. He brings his lover Veronique (Victoria Abril) along for the risky ride from Switzerland to the south, knowing the explosives can be easy detonated by accident and opponent agents as well as government agents are out to capture him. Both protagonists have a short fuse themselves, and as they separate and then come back together, their final destination looms ever closer in more methods than one.
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Buñuel once said, "Bourgeois morality is for me immoral and to be fought. The morality founded on our most unjust social institutions, like religion, patriotism, the family, culture: briefly, what are named 'the pillars of society'."I mention this, not to alienate folks who might search such a statement offensive, but to recommend insight into his mission of view. A viewpoint vigorously defended in this anti-bourgeois, rural tale that has a kick like a mule. Buñuel's truths are just as applicable today but, by putting them in 1930s France, he sweetens the bitter pill with a coating of sex, storytelling and the reassuring fiction that 'things have maybe moved on since then.'Célestine impresses us. Intelligent, pretty and sophisticated - but she nevertheless needs to earn her living in service. She takes the train from Paris to work as a chambermaid at a country estate. In this lap of wealth, she deals with a panoply of dodgy people. A brutish handyman. A frigidly overbearing Madame Monteil. Madame's lecherous husband and her kinky father. Remarkably, none of these are portrayed as stereotypes. Characters are well fleshed out as Buñuel pits one vs another. Madame Monteil earns our sympathy as she confides sexual shortcomings to the priest, who is in turn well-meaning if hopelessly out of touch. Doddering old Monsieur Rabour, although at first shockingly abhorrent with his fixation on women's feet, probably has nothing more harmful than a shoe fetish. "Would you mind if I touch your calf?" he asks (but goes no further up her leg). Is Célestine testing a risky game? Is she a libertine? Or just one step ahead of her audience?The first half of Diary of a Chambermaid is delicious saucy comedy. Buñuel's famed surrealism, that create movies like Un Chien Andalou or L'Âge d'Or so formidable, is nowhere to be seen. Nor do we have to grapple with the distanciation of Exterminating Angel, his Brechtian masterpiece of just two years earlier. But be warned, gentle reader. The second half is not only grislier, but by the end Buñuel will have pulled the rug from under your feet. It can be a bleak experience.Quite apart from a intelligent story, Diary of a Chambermaid offers many delights, both to casual viewers and serious movie analysts. Depending on your viewpoint, Moreau's many-sided performance is either a triumph for feminism or stands feminism on its head. It strips bare the bourgeoisie and capitalist, presenting the rising tide of French fascism as xenophobic intolerance - one we can recognise as replicated in many countries or patriotic cults even today. The hypocrisy of the upper classes is one of 'fur coat and no knickers'; whereas the pious protestations of the lower ranks are shown as the facade from which they lust after the coat itself.Class-struggle is mirrored by sex-as-power. To men, sex becomes a celebration of might, whether physical, social or financial. To women, it is the potential to entrap with allure. She is everytime show and everytime unattainable. Through this implied promise of sexual gratification she bends boys to her will. And still projects an aura of 'purity'. Our handyman tortures a goose before killing it rather horrible, but in a method does it add to his raw animal charm? And is Buñuel really just saying a story? Or is he manipulating his audience to drive the mission home?This is also Buñuel's only movie made in anamorphic widescreen format. Although not showy, the cinematography is powerful. Credits launch to the sound of a rushing steam train. We watch, through Célestine's eyes, the countryside flash by. A wide angle lens increases the sense of movement, as if we are propelled by an unstoppable force.When Joseph tries to kiss Célestine at night by the bonfire, his posture is that of a vampire. A snail crawling across the a dead and violated body in the woods is as vivid and shocking as anything from Buñuel's earlier catalogue of slit eyeballs and dead donkeys. But it is Buñuel's acerbic vision of all that is wrong, in all layers of society, that is so chilling.At one point, Monsieur Rabour is reading the French creator JK Huysmans. Huysman's view of the globe was as pessimistic as Buñuel, but it is Buñuel that makes it so all-encompassing. The festering fascist mob who cheer for Chiappe in our film, are honouring the same chief of police who prohibited Buñuel's L'Âge d'Or (after fascists destroyed the cinema where it was being shown). There were several governments that liked Buñuel, and we can see that the feeling was mutual.The movie is more political than it is entertaining, which may alienate some viewers who begin off liking it. Even the game seems cynical I don't recall any recommendation of her keeping a journal. Diary of a Chambermaid is a nice car for Moreau, who gets to enjoy so many characters in one. A criticism often levelled at mainstream cinema is that girls tend to be decoration in male-driven plots. Célestine (or 'Marie' as she is named in other dig at Catholic - or class - depersonalisation) doesn't so much take over the driving seat as recommend a fresh perspective from which she is in control. Audiences will divide on whether they ultimately like her or not.Things may have moved on. Domestic service is less harsh in most parts of the globe where it survives today. Fascism has been replaced with virulent if not yet such obvious forms of rampant and aggressive nationalism. Sex is not everytime a minigame of power. But forces of immorality still pose in white robes and high office. 'Commoners' still aspire to the evils they decry. The purity of a saint is maybe required to 'enjoy' Diary of a Chambermaid. But Buñuel stood up for his beliefs. Today, most viewers may content themselves with standing up for his cinematic skills.
In the 30's, the witty, literate and quite sophisticated chambermaid Céléstine (Jeanne Moreau) comes from Paris to work for the dysfunctional Monteil family in the country, more specifically for the fetishist on shoes and maniac for cleaning Monsieur Rabour (Jean Ozenne). His daughter and mistress of the house Madame Monteil (Françoise Lugagne) is a frigid and arrogant woman, and her husband, Monsieur Monteil (Michel Piccoli), is a hunter and also a wolf with their maids. Their fascist and rude worker Joseph (Georges Géret) feels a sexual attraction for Céléstine, but she repels him. Their neighbor, Captain Mauger (Daniel Ivernel), has a trouble with the Monteils and dumps his garbage in their yard, but Céléstine talks to him and is motive of gossips. When Monsieur Rabour unexpectedly dies, Céléstine quits her job but while in the train station, she finds that the woman Claire was found raped and murdered by the police. Céléstine returns to her job convinced that Joseph killed the tiny woman and trying to search evidences vs him."Le Journal d'une Femme de Chambre" is a delicious film of undefined category drama, black comedy, adventure? where Luis Buñuel again exposes war of classes, hypocrisy of both the bourgeois and the working class, a historical moment in France with the fascism growing, the ridiculous role of the clerical and an unsolved murder case. The storyline is centered in Céléstine, but the motives why a girl with her profile accepts a job in a rural zone is never clear. The identity of the rapist and assassin of Claire is also not disclosed, there is only a powerful insinuation that Joseph killed the girl. The storyline is very ironic, like for example when Monsieur Monteil is informed that Céléstine and Joseph will marry and requires the sexual favors from Marianne; or the weird fetishism of Monsieur Rabour; or the priest asking for a fresh roof for the church to Madame Monteil; or the conclusion with Captain Mauger changing his will and serving the mistress and smart Céléstine on their bed. My vote is seven.Title (Brazil): "O Diário de uma Camareira" ("The Diary of a Chambermaid")
This is my favourite Buñel film. The storyline is stunningly presented, an absolute work of art, unbelievably subtle but everytime concrete. It is like a nice symphony: each note is perfect.Surprisingly (considering the title) Le journal d'une femme de chambre is not about sex, nor is it a journal for that matter. It is about politics, sexual politics of course, but also domestic politics, manor politics, and nation-state politics. The time is the thirties as fascism moves toward its mesmerizing stranglehold on a decadent Europe. The zone is France (Normandy, I imagine) where the republicans keep power. In the roads are those who would be brown suits and among them is Joseph (Georges Geret), groundskeeper for a petite bourgeois family of degenerate eccentrics. He is an incipient Nazi, a xenophobic anti-Semitic boy who worships brute force, an ignorant boy that each French movie-goer knows will be a Nazi-collaborator once France is under the occupation.The storyline is seen from the mission of view of Celestine, a chambermaid of some sophistication (and an abiding, but understandable duplicity), a Parisian who has come to work for the family in the country. She is played by the incomparable Jeanne Moreau of the plastic face, a girl of many guises, many moods and an ability to depict with a glance any emotion. She is a nice star of the French scene and screen who plays the part effortlessly, with finesse and a fine subtlety. The screenplay by Buñel and the brilliant Jean-Claude Carriere (who penned so many outstanding films, Bell de Jour (1967), The Discreet Charm of the Bourgeoisie (1972), Valmont (1989), The Ogre (1996), etc.) is an adaptation of the novel by Octave Mirbeau. There is a Hollywood movie of the same name starring Paulette Goddard, Burgess Meredith and Judith Anderson, directed by Jean Renoir that I haven't seen, released in 1946. I understand the treatment was more comedic and conventional.Surrealist Luis Buñel's movie is perhaps greatest described as a comédie noire, a category antecedent to the familiar (and somewhat similar) movie noir. In the latter the comedy is usually incidental and there is no attempt at any nice philosophic or symbolic significance. Here Buñel not only makes a statement about the nature of the relationship between bourgeois Europe in the thirties and fascism, but even delves into the primeval nature of girls and gives us a sharp look at a woman's zone in bourgeois society. Celestine is duplicitous because she has to be to survive. She uses boys the method the society uses her.Be sure and pay close attention to the final stage inside and outside the café and consider the implications of what is being shown. What is being suggested? Will Joseph finally receive the punishment he so richly deserves? Or did Celestine create the choice she made out of fear? Is the union between Joseph and Celestine symbolic of that between the fascists and Europe?For those interested in this last theme I highly suggest Vittoria De Sica's brilliant The Garden of the Finzi-Continis (1971).(Note: Over 500 of my film reviews are actually accessible in my ebook "Cut to the Chaise Lounge or I Can't Trust I Swallowed the Remote!" Receive it at Amazon!)
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