#Marcel Bozzuffi

[dare-g]

Hallucination Strip (1975)

[streamondemand]

'Le Deuxième Souffle' – Lina Ventura takes his revenge on Criterion Channel

Jean-Pierre Melville, the dean of French crime cinema, made his name with a series of deftly-directed tales of colorful underworld characters, starting with the playfully ironic heist picture Bob le Flambeur. Le Deuxieme Souffle (France, 1966) casts a darker shadow over his sensibility. Lino Ventura, the stocky, broad-shouldered crime movie icon, stars as Gustave ‘Gu’ Minda, a loner and career…

[genevieveetguy]

. That car is dirty, Cloudy. We're going to sit here all night if we have to.

The French Connection, William Friedkin (1971)

[erstwhile-punk-guerito]

[byneddiedingo]

Charles Denner and Yves Montand in Z (Costa-Gavras, 1969)

Cast: Jean-Louis Trintignant, Yves Montand, Irene Papas, Pierre Dux, Jacques Perrin, Charles Denner, François Périer, Georges Géret, Bernard Fresson, Marcel Bozzuffi, Julien Guiomar, Magali Noël. Screenplay: Jorge Semprún, based on a novel by Vassiliis Vassilikos. Cinematography: Raoul Coutard. Production design: Jacques D’Ovidio. Film editing: Françoise Bonnot. Music: Mikis Theodorakis. 

Costa-Gavras's great political thriller, Z,  was an unsettling film to watch in 1969, the year after Robert Kennedy and Martin Luther King Jr. were assassinated, the police clashed with demonstrators at the Democratic convention in Chicago, and Richard Nixon was elected president. What makes it unsettling in today's political climate is the way the film shows the destructive collaboration of ideologues, buffoons, and thugs. It's an often grimly funny movie, particularly in the portrayal of the general in charge of the police, who as played by Pierre Dux is both ideologue and buffoon. There is buffoonery also among the thugs, and Costa-Gavras has fun mocking the conspirators who, once they angrily leave the room in which they've been indicted, each try to open a locked door. But we mock them in vain. For while the efforts of the prosecutor played beautifully by Jean-Louis Trintignant are heroic and Costa-Gavras and screenwriter Jorge Semprún make us expect justice to prevail, it doesn't. The story is that of the assassination of Greek opposition politician Grigoris Lambrakis in 1963 and the subsequent investigation that brought a glimmer of hope to the country only to be squelched by the military coup of 1967. However, the film is set in no specific country -- it was filmed in Algeria -- and only an opening "disclaimer" that parodies the usual assertion about any resemblance to persons living or dead dares to say that the resemblances in the film are entirely intentional. Costa-Gavras and Semprún were political exiles from, respectively, Greece and Spain. The composer Mikis Theodorakis had been arrested and his music was banned in Greece; he gave Costa-Gavras permission to use existing compositions for the film score. But the decision to set the film in no particular place only strengthened its ability to reach out and make its story meaningful beyond a specific place and time. Although Yves Montand and Irene Papas get top billing as the assassinated politician and his wife, Montand's role is comparatively small and Papas's is virtually a cameo. The movie is mostly carried by Trintignant and by Jacques Perrin, one of its producers who also plays a very aggressive investigative journalist, and a capable supporting cast. It won Oscars as the best foreign-language film and for Françoise Bonnot's film editing. It was also nominated in the best picture category, and picked up nominations for best director and best adapted screenplay, but lost in those categories to Midnight Cowboy and its director, John Schlesinger, and screenwriter, Waldo Salt.

[abatelunare]

Happy end

Il film s’intitola Hold-up: istantanea di una rapina. Ed è un giallaccio italo-spagnolo. Ne riassumo brevissimamente la trama. C’è un ex poliziotto smemorato con il vizio dell’alta gradazione e del gioco. Non ricorda più dove siano finiti i talleri di una rapina avvenuta anni prima. Alla fine della pellicola la memoria gli torna. Recando con sé il colpo di scena finale. La storia ha svariate incongruenze. Ma c’è qualche sequenza d’azione non male. Soprattutto uno spettacolare inseguimento che coinvolge tre automobili. E tre interpreti che spiccano sugli altri: Marcel Bozzuffi, Enrico Maria Salerno e Nathalie Delon. Ma è un altro il motivo che mi ha spinto a digitare questo post. Fin dalle prime scene ho avuto come una sensazione di già visto. Poi mi sono ricordato. Questo è uno dei film che ho amato da ragazzo. E sono riuscito a trovarlo senza sapere quale fosse (non ne ricordavo il titolo). Ciò mi ha dato una grande felicità. Amo questo tipo di lieto fine. Anche se Hold-up: istantanea di una rapina ha proprio un finale di merda.

[alexlacquemanne]

Juillet MMXXIV

Films

Le Comte de Monte-Cristo (2024) d'Alexandre de La Patellière et Matthieu Delaporte avec Pierre Niney, Bastien Bouillon, Anaïs Demoustier, Anamaria Vartolomei, Laurent Lafitte, Pierfrancesco Favino, Patrick Mille, Vassili Schneider, Julien de Saint Jean et Julie de Bona

La Jalousie (1976) de Raymond Rouleau avec Daniel Gélin, Nicole Calfan, Jacques Toja, Annick Alane, Marc Eyraud, Anna Gaylor, Françoise Pages et Francis Lemaire

Maestro(s) (2022) de Bruno Chiche avec Yvan Attal, Pierre Arditi, Miou-Miou, Pascale Arbillot, Caroline Anglade, Nils Othenin-Girard et Caterina Murino

The Truman Show (1998) de Peter Weir avec Jim Carrey, Ed Harris, Laura Linney, Noah Emmerich, Natascha McElhone et Holland Taylor

Un crime dans la tête (The Manchurian Candidate) (1962) de John Frankenheimer avec Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury, James Gregory, Lloyd Corrigan et Leslie Parrish

French Connection (The French Connection) (1971) de William Friedkin avec Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bianco, Marcel Bozzuffi et Frédéric de Pasquale

To The Moon (Fly Me to the Moon) (2024) de Greg Berlanti avec Scarlett Johansson, Channing Tatum, Nick Dillenburg, Anna Garcia, Jim Rash, Noah Robbins, Colin Woodell et Christian Zuber

Le Gendarme de Saint-Tropez (1964) de Jean Girault avec Louis de Funès, Michel Galabru, Jean Lefebvre, Christian Marin, Guy Grosso, Michel Modo, Geneviève Grad, France Rumilly, Nicole Vervil et Claude Piéplu

La Marseillaise (1938) de Jean Renoir avec Pierre Renoir, Louis Jouvet, Lise Delamare, Andrex, Edmond Ardisson, Nadia Sibirskaïa, Jenny Hélia, Gaston Modot et Julien Carette

Un éléphant ça trompe énormément (1976) de Yves Robert avec Jean Rochefort, Claude Brasseur, Guy Bedos, Victor Lanoux, Danièle Delorme, Anny Duperey, Martine Sarcey et Marthe Villalonga

Le Gendarme à New York (1965) de Jean Girault avec Louis de Funès, Michel Galabru, Jean Lefebvre, Christian Marin, Guy Grosso, Michel Modo, Geneviève Grad et Alan Scott

Le Secret de Green Knowe (From Time to Time) (2009) de Julian Fellowes avec Alex Etel, Timothy Spall, Maggie Smith, Christopher Villiers, Pauline Collins, Eliza Bennett, Rachel Bell, Dominic West et Carice van Houten

Raoul Taburin (2018) de Pierre Godeau avec Benoît Poelvoorde, Édouard Baer, Suzanne Clément, Vincent Desagnat, Grégory Gadebois, Victor Assié et Timi-Joy Marbot

Nous irons tous au paradis (1977) de Yves Robert avec Jean Rochefort, Claude Brasseur, Guy Bedos, Victor Lanoux, Danièle Delorme, Marthe Villalonga, Jenny Arasse, Christophe Bourseiller et Josiane Balasko

Drôle de drame (1937) de Marcel Carné avec Françoise Rosay, Michel Simon, Louis Jouvet, Jean-Pierre Aumont, Nadine Vogel, Pierre Alcover et Jean-Louis Barrault

French Connection 2 (1975) de John Frankenheimer avec Gene Hackman, Fernando Rey, Bernard Fresson, Philippe Léotard, Ed Lauter, Charles Millot, Jean-Pierre Castaldi et Cathleen Nesbitt

Le Gendarme se marie (1968) de Jean Girault avec Louis de Funès, Michel Galabru, Jean Lefebvre, Christian Marin, Guy Grosso, Michel Modo, Geneviève Grad, Claude Gensac et Mario David

Totally Spies! le film (2009) de Pascal Jardin avec Claire Guyot, Fily Keita, Céline Mauge, Jean-Claude Donda, Karl Lagerfeld et Emmanuel Garijo

Séries

Maguy Saison 6

Quitte ou rouble - Séparation de survie - L'injuste prix - Une nièce rapportée - Une occase en moins - Météo et bas - Une Maude passagère - Bénévole d'essai - Tata poule - Des routes en déroute - Débat des eaux - L'ami gratteur - Pinceaux périlleux - Termite errant - Troubles de la télévision - Étrennes à la traîne - Mégarde à vue - Golf: heurts - Mépris de Rome - Le rappeur sur la ville - Jaloux y es-tu ? - Clochard abstrait - Affreux d'emploi - Un clown chasse l'autre - Adamo.. tus et bouche cousue - Passe-moi le recel - Fissures la corde raide - Écoutes que coûte - Le carton de la plaisanterie - Un fils à la patte - Mur… aïe ! - Désaccords de guitares - Une mage d'histoire - Compagnons d'alarmes - Despote au feu - Dernière cartouche au tableau - Des pots en dépôt

Affaires sensibles

17 et 18 septembre 1981 : dernière cigarette pour la guillotine - 1er février 2003, l’accident de la navette spatiale Columbia - Les Dix d’Hollywood, ou quand l’Amérique voyait rouge - Challenger 1986 : une catastrophe en plein ciel pour la fin d’un rêve "étoilé" - La tornade Michel Polac - John Lennon, mort d'un enfant du siècle - “Nous irons les buter jusque dans les chiottes” Russie, 1999, les attentats, la Tchétchénie et Poutine - Essais nucléaires dans le pacifique, un mensonge français - Péchiney : délit d'amitié, délit d'initiés

Le Coffre à Catch

#174 : William Regal champion en Angleterre? - #175 : CM Punk de retour à la ECW ! - #176 : Shelton vs Christian : un banger en préparation ! - #177 : Trent Baretta & Caylen Croft : les vrais Best Friends ! - #178 : TLC 2009 : Un Show Stealer ?

WWE : les rivalités de légende Saison 2

Hulk Hogan vs. Roddy Piper - The Rock vs. John Cena - Steve Austin vs. Bret Hart - The Undertaker vs. Randy Orton - Steve Austin vs. Shawn Michaels - Brock Lesnar vs. Roman Reigns - The Undertaker vs. Mankind - Trish Stratus vs. Lita

The Durrells : une famille anglaise à Corfou Saison 1, 2

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Le Tour du monde en quatre-vingts jours

Episode 1 - Episode 2 - Episode 3

Totally Spies Saison 7

Attention : ceci n'est pas un test - Espionnes à l'ancienne - Alerte chat-pardeurs

Spectacles

Patate (1982) de Marcel Achard avec Pierre Mondy, Michel Duchaussoy, Marie Dubois, Pascale Audret, Clémentine Amouroux et Philippe Dehesdin

Imagine Dragons Chambord Live (2023)

Elvis: The Comeback Special (1968)

Nirvana: MTV Unplugged in New York (1993)

Les Pigeons (2022) de et avec Michel Leeb, et aussi Francis Huster, Chloé Lambert, Philippe Vieux

Livres

Batman : The Killing Joke d'Alan Moore et Brian Bolland

Red Skin, tome 1 : Welcome to America de Xavier Dorison et Terry Dodson

Red Skin, tome 2 : Jacky de Xavier Dorison et Terry Dodson

Le coureur et son ombre d'Olivier Haralambon

Détective Conan, tome 23 de Gôshô Aoyama

Détective Conan, tome 24 de Gôshô Aoyama

Conversations avec A d'Alex Lacquemanne

Kaamelott, tome 7 : Contre-attaque en Carmélide d'Alexandre Astier, Steven Dupré et Picksel

[the-music-stories-blog]

The French Connection, William Friedkin, 1971, US

Starring Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bianco, Marcel Bozzuffi, Frederic de Pasquale.

104 min, Film Neo Noir

The screenplay, written by Ernest Tidyman, is based on Robin Moore's 1969 book of the same name.

New York Detective "Popeye" Doyle (Gene Hackman) and his partner (Roy Scheider) chase a French heroin smuggler.

An urban crime thriller which won undeserved acclaim for its efficient but unremarkable elevat-

ed-railway chase and its clumsy, showy emphasis on grainy, sordid realism. The performances are strong, although Hackman has done far better than this portrayal of a hard-nosed cop obsessively tracking down a narcotics ring in New York, using methods disapproved of by his superiors. The real problems, however, are that Friedkin's nervy, noisy, undisciplined pseudo-realism

sits uneasily with his suspense motivated shock editing; and that compared to (say) Siegel's Dirty Harry, the film maintains no critical distance from (indeed, rather relishes) its 'loveable' hero's brutal vigilante psychology.

At the 44th Academy Awards, the film earned eight nominations and won five for Best Picture, Best Actor (Hackman), Best Director, Best Film Editing, and Best Adapted Screenplay.

[tvln]

z (fr/alg, costa-gavras, 69)

[brokehorrorfan]

Illustrious Corpses will be released on Blu-ray on September 28 via Kino Lorber Studio Classics. The 1976 murder-mystery is also known in its native Italian as Cadaveri Eccellenti.

Francesco Rosi (Salvatore Giuliano) directs from a script he co-wrote with Tonino Guerra (Blow-Up) and Lino Iannuzzi (Lucky Luciano), based on Leonardo Sciascia’s 1971 novel Equal Danger.

Lino Ventura stars with Tino Carraro, Marcel Bozzuffi, Paolo Bonacelli, Alain Cuny, Luigi Pistilli, Renato Salvatori, Tina Aumont, Fernando Rey, Max von Sydow, and Charles Vanel.

Illustrious Corpses has been newly restored in 4K from the original camera negative. It’s presented with its original Italian audio and English subtitles. Special features are listed below.

Special features:

Audio commentary by filmmaker Alex Cox (new)

English and Italian theatrical trailers

A detective (Lino Ventura) is assigned to investigate the mysterious murders of some Supreme Court judges. During the investigation, he discovers a murder plot that involves the Italian Communist Party.

Pre-order Illustrious Corpses from Amazon.

[brand-upon-the-brain]

Images (Robert Altman, 1972)

[thehauntologicalsociety]

Images — A Film by Robert Altman

When a wealthy housewife and children’s author begins to have disturbing visions, her husband takes her to the countryside for a vacation. There, her delusions worsen, with tragic consequences.

Wealthy children's author Cathryn (Susannah York) receives a series of disturbing phone calls in her home in London one dreary night; the female voice on the other end, sometimes cutting in on other phone conversations, suggests mockingly that her husband Hugh (René Auberjonois) is having an affair. Hugh comes home, finding Cathryn in distress. As Hugh attempts to comfort her, Cathryn witnesses a different man who is behaving as if he were her husband. She screams in horror and backs away, only to see her vision of the figure revert to her husband.

Hugh attributes her outburst to stress and her pregnancy. He decides to take her on a vacation to an isolated cottage in the Irish countryside, where Cathryn can work on her book and take photographs for its illustrations. Immediately upon her arrival, however, Cathryn hears voices saying her name and sees strange apparitions: While preparing lunch one day, she sees her husband Hugh pass through the kitchen, then transform into her dead lover, Rene (Marcel Bozzuffi). Rene continues to appear to her around the house, and even speaks with her.

Cathryn's paranoia and visions become increasingly pervasive, and are exacerbated when a local neighbor and ex-lover, Marcel (Hugh Millais), brings his adolescent daughter, Susannah (Cathryn Harrison), to visit. Cathryn becomes unable to distinguish Hugh from Rene or Marcel, as the men shift before her eyes. One day, Rene taunts Cathryn, asking her to kill him if she wants rid of him, and hands her a shotgun. She shoots him through the abdomen; Susannah, startled by the gunshot, runs into the house, and finds Cathryn standing in the den, having shot Hugh's camera to pieces. Cathryn claims the gun accidentally fired when she was moving it.

Seeking solace, Cathryn goes to a nearby waterfall, where she often sees her doppelgänger staring back at her. After one such occurrence, she returns to the house, where Hugh tells her he has to leave for business. She drives him to the train station and returns to the house, where she finds Marcel waiting inside. He begins to undress to have sex with her, but she stabs him through the chest with a kitchen knife. The next morning, she encounters a local elderly man walking his dog, and invites him to come inside for coffee, in spite of the fact that Marcel's corpse apparently lies in the living room (which suggests that she regards the "murder" as a hallucination, like her shooting of Rene); the old man declines the invitation. Later in the evening, Susannah stops by the house, and remarks that her father was not at home when she awoke that morning. Cathryn is alarmed by this, as it could mean that she really did kill Marcel. She is relieved to hear that Marcel did return drunk after midnight, and invites Susannah in for a cup of tea after reasoning that Marcel cannot be dead on her living room floor. Susannah asks Cathryn if she looked like her when she was young before ominously saying, "I'm going to be exactly like you."

After having tea, Cathryn drives Susannah back home. Marcel comes out of the house and attempts to talk to Cathryn, but she drives away. While on a stretch of road through a desolate field, Cathryn witnesses her doppelgänger again, attempting to wave her down. Back at the house, she finds both Rene and Marcel's corpses have reappeared in the living room. Cathryn leaves again, and encounters her doppelgänger at a bend in the road; this time she stops. The doppelgänger begs Cathryn to let her into the car, and the two begin to speak in unison. She then hits the doppelgänger with the car, throwing her off a cliff and into a waterfall below. Cathryn then drives back to her home in London. At her home, she goes to take a shower. While in the bathroom, the door opens, and the doppelgänger walks inside. Cathryn screams in terror, "I killed you," to which the doppelgänger responds, "Not me." The final shot shows Hugh's corpse lying at the bottom of the falls.

Susannah York - Cathryn, Rene Auberjonois - Hugh, Marcel Bozzuffi - Rene, Hugh Millais - Marcel, Cathryn Harrison - Susannah, John Morley - Old Man, Barbara Baxley - Voice on telephone (uncredited).

Produced by Tommy Thompson and Al Locatelli (uncredited), Cinematography by Vilmos Zsigmond, Film Editing by Graeme Clifford, Production Design by Leon Ericksen.

Makeup Department: Toni Delaney ... makeup artist, Barry Richardson ... hair stylist, Production Management: Sheila Collins ... production manager, Second Unit Director or Assistant Director: Seamus Byrne ... assistant director, Sound Department: Rodney Holland ... sound editor, Noel Quinn ... boom operator, Liam Saurin ... sound recordist, Doug E. Turner ... dubbing mixer (as Doug Turner), Stomu Yamashta ... sounds (as Stomu Yamash'ta), Special Effects by Jerry F. Johnson ... special effects (as Jerry Johnson), Gerry Johnston ... special effects (uncredited), Camera and Electrical Department: Earl L. Clark ... assistant camera (as Earl Clark), Jack Conroy...gaffer, Paddy Keogh ... grip, Nico Vermuelen ... assistant camera, Costume and Wardrobe Department: Jack Gallagher ... wardrobe, Editorial Department: Robin Buick ... assistant editor, Michael Kelliher ... assistant editor, David Spiers ... assistant editor, Music Department: Stomu Yamashta ... musician: sound sculptures, John Williams ... orchestrator (uncredited), Transportation Department: Arthur Dunne ... transportation captain, Other Crew: Joan Bennett ... continuity, John Collingwood ... production accountant, Jean D'Oncieu ... assistant to producer.

[mariocki]

Quelli della calibro 38 (Colt 38 Special Squad, 1976)

"You're a hero, Vanni. It's all over the news. You killed my brother, but I've avenged him."

"Who are you?"

"I'm the Marseillaise. Heroes can't afford the luxury of having a family."

[erstwhile-punk-guerito]

[byneddiedingo]

Tomas Milian and Christine Boisson in Identification of a Woman (Michelangelo Antonioni, 1982) Cast: Tomas Milian, Daniela Silverio, Christine Boisson, Lara Wendel, Veronica Lazar, Enrica Antonioni, Sandra Monteleoni, Marcel Bozzuffi. Screenplay: Michelangeo Antonioni, Gérard Brach, Tonino Guerra. Cinematography: Carlo Di Palma. Production design: Andrea Crisanti. Film editing: Michelangelo Antonioni. Music: John Foxx.  Identification of a Woman plays almost like a pastiche of the movies that Michelangelo Antonioni and other directors made 20 years earlier: There's a party filled with bored Eurotrash like the ones in his La Notte, Federico Fellini's La Dolce Vita (1961), and Alain Resnais's Last Year at Marienbad (1962); there's a film director trying to get over creative block like Guido in 8 1/2 (Fellini, 1963); there's a search for a missing woman, though not so fruitless as the one in Antonioni's L'Avventura (1960); there are some mutterings about imponderable philosophical questions, such as whether god would exist if human beings didn't; and there's a good deal of sex, still not enough to overcome the problems of the characters, though the nudity is more frontal and the copulation more explicit than it was two decades earlier. In short, we've been here before. Still, Identification of a Woman is not without its rewards, most of them provided by the wizardly color cinematography of Carlo Di Palma. His artistry and technique are on display in such scenes as the film's most memorable segment, the journey through the fog, as well as in the play with reflections (see the still above) in the Venetian hotel scene. They do more than the actors do to bring the film to what life it possesses. 

[vintagewarhol]