Tag Archives: 1960s

Les tontons flingueurs / Monsieur Gangster (1963) Georges Lautner, Lino Ventura, Bernard Blier, Francis Blanche

Les tontons flingueurs (1963)
Ex-gangster Fernand (Lino Ventura) receives a call from a dying friend, a mob boss nicknamed “The Mexican”. The doomed mobster talks Fernand into taking care of some criminal business and looking after his soon-to-be-married daughter. When a longtime mobster heavy, Volfoni takes exception to Fernand for being an outsider, they come after Fernand who is equal to the task. He defends himself in a series of comical killings from the onslaught of the mob.
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Goodbye Again (1961) Anatole Litvak, Anthony Perkins, Ingrid Bergman, Yves Montand

Goodbye Again (1961)
In this adaptation of Françoise Sagan’s best selling novel, Paula is a beautiful and highly successful 40-year-old businesswoman. She is deeply in love with Roger, her mature consort of five years. Roger is a very charming gallant who loves Paula but is too selfish to give up his freedom to be promiscuous. When Paula meets Phillip, the 24-year-old immature lawyer son of one of her rich clients, he falls hopelessly in love with the glamorous, sympathetic older woman and insists that the age difference will be no barrier to a romance. Paula resists the young man’s persistent advances, but she finally succumbs when Roger initiates yet another affair with one of his young Maisies. An affair begins, and society does not approve.
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The Brides of Fu Manchu (1966) Don Sharp, Christopher Lee, Douglas Wilmer, Heinz Drache

The Brides of Fu Manchu (1966)
Christopher Lee returns as Sax Rohmer’s insidious Asian villain Fu Manchu for the second of his five vehicles. This time Fu Manchu and his army of henchmen are kidnaping the daughters of prominent scientists and taking them to his remote island headquarters. Instead of asking for ransom, Fu demands that the fathers help him to build a death ray, which he intends to use to take over the world. But Fu’s archenemy, Nayland Smith of Scotland Yard, is determined not to let that happen…
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Nóz w wodzie / The Knife in the Water (1962) Roman Polanski, Leon Niemczyk, Jolanta Umecka, Zygmunt Malanowicz

Noz W. Wodzie (1962)
Well off Andrzej and Krystyna’s marriage is at a stage where familiarity breeds contempt, that contempt which is outwardly shown only behind closed doors and only when an incident of some sort sets off one or the other. While driving through the countryside on a Sunday on their way to the lake to embark on an overnight sailing excursion, they almost run over a young male hitchhiker. Despite the antagonism between Andrzej and the hitchhiker, Andrzej offers him a ride as far as the marina. By the time they reach the lake, their antagonism has dissipated enough that Andrzej asks if he would like to join them on their sailing trip. The hitchhiker accepts despite knowing nothing about sailing. As the sailing trip progresses, the antagonism between the two men begins to increase again, fueled on both sides as each strives to be the alpha male. Andrzej needs to show his superiority, while the hitchhiker needs to show that his young age and inexperience, not only with sailing but with life in…
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Goto, l’île d’amour / Goto, Island of Love (1969) Walerian Borowczyk

Goto, l'ile d'amour (1969)
Walerian Borowczyk’s second feature was just as original as his first. Almost entirely live action this time, it is situated on the archipelago of Goto, which has been cut off from the rest of human civilisation by a massive earthquake and has consequently developed its own arcane rules. Melancholic dictator Goto III (Pierre Brasseur) is married to the beautiful Glossia (Ligia Branice), who in turn is lusted after by the petty thief Gozo (Guy Saint-Jean) as he works his way up the hierarchy.
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The Nude Restaurant (1967) Andy Warhol, Brigid Berlin, Julian Burrough, Taylor Mead

The Nude Restaurant (1967)
At a New York City restaurant, the patrons are men, nude but for a G-string, waited on by one woman, also clad in a G-string (played by Viva) and a G-bestringed (bestrung?) waiter. Some of the “nude” patrons leave the establishment, their places taken by new customers, also nearly in the buff. There are numerous in-camera jump cuts (known as ‘strobe cuts’) and the camera weaves around a bit. The waiter and waitress move from table to table, talking to the customers. Taylor Mead sits smirking at the fountain, where eventually he partakes in a long conversation with Viva about her Catholic childhood. Viva, the waitress if not the actual person, seemingly is obsessed with the subject of lascivious priests. There is more strobe cutting and at one point, Viva turns to the camera and asks that it be turned off. The camera is turned off and, after an interlude, is turned back on again, after which Viva continues with her monologue.
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Madamigella di Maupin (1966) Mauro Bolognini, Catherine Spaak, Robert Hossein, Tomas Milian

Madamigella di Maupin (1966)
Mlle de Maupin escapes from her uncle’s castle, invaded by Hungarian troops, under the guise of a clergyman named Theodore. An army recruiter forces Theodore to enlist in the King’s army, and not even the religious robe is an insurance against it. Theodore is assigned to be aide-de-camp to Alcibiade, a man as virile in combat, as he seems troubled for the figure of his aid… D’Albert, an aristocrat, will expose Theodore’s true sex, and after a number of confusing, comedy situations, Alcibiade will appease his troubled feelings.
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Tanin no kao / The Face of Another (1966) Hiroshi Teshigahara, Tatsuya Nakadai, Mikijirô Hira, Kyôko Kishida

Tanin no kao (1966)
A businessman facially scarred in a laboratory fire receives psychotherapy from a psychiatrist, and obtains an amazingly lifelike mask from the doctor. Soon after being fitted for the mask, he seduces his wife and succeeds. But his wife claims she was aware all along who he was and believed that both were just masquerading together as most couples usually do in different ways. Strangely enough, his personality seemingly begins to change after he puts on the mask as if the mask has influenced his personality. His new identity does not enable him to reintegrate into society after all. A subplot is inserted in fragments. A good-natured young woman, the right side of whose face is disfigured, has been hurt by others’ inquisitive eyes and insults, and has been shunned by men. She asks her older brother, the only man who understands her pain and solitude, to make love to her, hiding from him the intent of killing herself after then.
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