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Reviews at Cannes Festival Cannes, May 22

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Reviews at Cannes Festival Cannes, May 22 22 PICTURES iKIETY Wednesday, May 30, 1962 Le Caporal Epiugle finds gave him more freedom. He I.© Crime Ne Pale Paa (The Hard Luck Corporal) leaves everything behind, includ­ (Crime Does Not Pay) (FRENCH) ing his fiancee to start a new life (FRENCH—'SCOPE) Reviews at Cannes Festival Cannes, May 22. with another girl. Film story thus Cannes, May 29. Continued from page ( ; Pathe release of Films Du Cyclope depicts a rebellion against mater­ Under release of Transworld-Cosmaa production. Stars Jean-Pierre Cassel; Film production. Stars Edwige Feuillere, features Claude Brasseur, Claude Rich, ialism. Gabriele Ferzetti, Michel Morgan, Annie l/Amour A Vlngt Ana attempted escape has them con­ Jean Carmet, Jacques Jouanneau, Mario Despite the fact that pic is Girardot, Christian Marquand, Pierre demned but German insistence has David, Conny Froboess, O. E. Hasse. Brasseur, Danielle -Darrieux, Peretta paternity responsibility. Getting to Directed by Jean Renoir. Screenplay, neither fish nof fowl, there is no Pradier. Richard Todd. Directed by know her he finds he loves the girl the game go on anyway. The Renoir, Guy Lefranc from novel by doubt that it will lead to discus­ Gerard Oury. Screenplay, Oury, Paul and accepts his readymade family. cljeering fellow prisoners egg them Jacques Perret; camera, Georges Leclerc; sion. Ordinary cinema patrons are Gordeaux, Jean-Charles Tacchela, Jean on to'a victory which they know editor, Rene Lichtig. At Cannes Film Aurenche, Pittfe Bost, Henri Jeanson, Acting is fresh, and Ophuls looms a Fest. Running time, 103 MINS. asked to show too much patience. Rene Wheeler, Boileau-Narceja,c, Jacques new bright filmic talent. will still not alter their executions. Corporal' Jean-Pierre Cassel Reportedly, the film has been sold Sigurd, Frederic Dard: camera, Christian Polski filmmaker Andrzej Wajda A deliriously happy group of pris­ Pater CTaude Brasseur to nearly a dozen countries. So a Matras; editor, R. Dvjyre. At Canne*. oners breaks onto the grounds and Ballochet Claude Rich Film Fest. Running time. 150 MINS. now looks at an ex-war hero who Emile Jean Carmet financial loss doesn't seem in­ Lucrezia Edwige Feuillere does a brave thing which brings prompts a touchy German to shoot Penche Jacques Jouanneau volved, which is some consolation Chevalier Gabriele Ferzetti one, and starts a mass slaughter. Erika Conny Froboess for the courageous filmmakers. Jeanne • Michele Morgan him the brief love of a girl. But Voyager O. E. Hasse Gabrielle Annie Girardot at a party he is kidded by boys Director Zoltan Fabri has han­ Hans. Martin Pierre Brasseur Louis Christian Marquand who are tired of war tales and in­ dled this with visual strength and Oldtime filmmaker Jean Renoir Lucienne Danielle Farrieux terested in themselves. There is framed a sort of parable on war is right in his element in this tale Helene Perette Pradier - a bite in this sequence, heightened as a sport. Film, however, has too of an escape-prone French soldier Koda Derevia Hvli Soldier Richard Todd by the bright beauty of Barbara many conventional types, even to in a prisoner of war camp during ltol«*liini Still another sketch pic with a Lass, the awareness of his unfit­ a comedy relief bit. Plot allows the last debacle. It has a height­ (When the Trees Were Big) ness among modern youth by clever connecting link of a man too many side issues to sometimes ened feel for human crisis and the (RUSSIAN) about to commit a crime seeing a Zbiginiew Zybulski. There is know­ obscure its dramatics. But this is need for action, leavened by ex­ Cannes, May 22. ing handling by director Wajra. film on the same subject. It has a solidly acted and technically im­ pert observation, to make this a Mosfilm release of Gorki Studios pro­ bevy of stars and some okay stories pressive. It's a contender for off­ film with art and general playoff duction. With Inna Goulaya, Youri Nikou- While the others manage to get line. L. Kouraviev. Directed by Lev based on famous crimes. Sketches a feeling for place and character, beat slotting. Mosk, chances abroad. Koulidjanov. Screenplay, Nicolay Figou- -are uneven but this production Renzo Rossellini's episode has the rovsky; camera, V. Guinsbourg; editor, Film is handled lightly without A. Afanassiev. At Cannes Film Fest. Run­ emerges a solid playoff item if faults of sketchiness. A kept young any undue dramatics. There are ning time, »5 MINS. seemingly not quite of arty house man falls for a working girl but S*>ienta V«c#?s Siete well-blocked characters, the feel Kouzma Youri Nikouline calibre. Nataeha Inna Goulaya his hardbitten mistress makes it (Seventy Times Seven) for time and place, and a verve A man goes to see a film called clear that the boy can never leave (ARGENTINE) Boy L. Konraviev and zest in dialog, imagry and Director''...'.; - - V. Choukchine "Crime Does Not Pay." From this, the luxury she gives him. This Cannes, May 22. playing. After the French defeat three sketches are worked out. can be sharpened a bit by cutting. Araucania Films production and re­ A gentle, tender tale of a Rus­ lease. Stars Isabel Sarli, Francisco Rabal, and armistice, thousands are still Then his machinations make up The Japanese is the most dra­ Jardel Filho; features Blanca Lagrolta, kept as prisoners while the warsia n drone who finally has histh e fourth episode. matic one. An inhibited young Jacobo Finder, Nelly Prono. Directed by with England goes on. conscience awakened and decides First, located in 15th Century Leopoldo Torre Nilsson. Screenplay, Dal- to take his place in society, this worker suddenly turns to murder­ miro Saenz, Beatrice Guido Nilseon; The assorted French Internees Venice concerns the revenge of an ing women. There is a feeling and camera, Ricardo Younis; editor, Oscar is somewhat too sentimental to Lagomarsino. At Cannes Film Fest. Run­ gripe, protest, find easy niches or aging mistress on her lover who solid progression in the first part, ning time, ft MINS. have much chance in most of the deserts her. She is in turn avenged try to escape, as does the hero, foreign market. However, it man­ but it loses balance in the sudden Cora Isabel Sarli Jean-Pierre Cassel. His many at­ by the murdered lover's flame. turn to murder. Pascual Francisco Rabal ages to sustain its mood, and it Operatic and static, the main plus Pedro Jardel Filho tempts usually end in failure ex­ unveils a director with tempera­ This worldwide sketch produc­ Madre Blanca Lagrotta cept for a last try that gets him values are the Venice color and tion looms a worthwhile arty and Padre Jacobo Finder ment in Lev Koulidjanov and a smart costuming. Duena Nelly Prono back to Paris. But then he is ready disarming actress in Inna Goulaya. playoff entry abroad. Joe Levine's to go on and try to join the Free Another is a tale of political in­ Embassy Pictures already has take"n Elemental tale is treated with a French Army in England. A workshirker decides to pass trigue in 19th Century Fnance it for the U.S. Georges Delerue knowing imagery to make for a himself off as a young pretty girl's when an ^attempt to blackmail a has eoncocted a catchy tune sung Renoir easily breathes life into progressive public figure (by deceptively adventurous and re-his people and situations. The father on collective farm. And he in each lingo at the end of each vealingly dramatic tale. This looms succeeds and lives off her only to trumping up a vile story about his sketch. Mask. corporal, appealingly played by wife) ends in her killing the black­ as a definite Latin language bet Cassel, is disciplined severely after bring her trouble. mailer and being vindicated by for the U.S. on its surface quali­ every escape and finally takes a sift But he finally tells her the courts. It is properly melodramatic. ties. Harry Of Kammerl jen«r berth with a shrewd friend who truth, and she will not believe him. The third shows the best inven­ (Harry and His Valet) In an almost primitive Argen­ has worked out a system of com­ So he decides to stay on. All this tiveness. It as a conniving wife \. (DANISH) tine outpost a comely girl with a fort. But a sudden rebelling against is tastefully handled and it even persuading her husband to knoek Cannes, May 22. scarred face works in a sporting this setup when he realizes this is gently pokes fun at bureaucracy. off her lover, then doublecrossing nialto Film release of Christensen pro­ house. A growing remorse leads a form of evasion and cowardice, duction. With Osvald Helmuth, Ebbe The listless worker is made to him by having him arrested so she Rode, Gunnar Lauring, Henning Morit- to her fighting off a patron. Her keeps him trying to escape again. assume his responsibilities through can have a new romance, her doc­ aen, Lisa Ringheim. Directed by Bent past is seen in flashback. It also leads to a bravado attempt Christensen. Screenplay, Christensen, love rather than flag-waving. tor. But the husband had prepared Leif Panduro; camera. Kjed Arnholtz; It shows her as a resigned but by his chastened, slightly cowardly poison in the wine for the lover, friend. The imagery is clear and the editor, L. Mollera. At Cannes Film Fest. shapely girl, working in a run­ playing fresh. It is a plus mark for and the wife and doctor acciden­ Running time, 104 MINS. tally drink it. Harry Osvald Helmuth down roadhouse, who goes off with The Germans are mainly de­ the production that it manages to Fabrieius Ebbe Rode a sheepherder.
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