Well, quoi d’autre?! Bardot! Moreau! Striptease! In Viva Maria (1965).
Well, quoi d’autre?! Bardot! Moreau! Striptease! In Viva Maria (1965).
Aka Tre passi nel delirio/Histoires extraordinaires. Three stories of hauntings adapted from Edgar Allan Poe. Part 1:“Metzengerstein” directed by Roger Vadim. Are you sure it was a dream? Sometimes you need me to tell you what you did was real. At 22, Countess Frederique (Jane Fonda) inherits the Metzengerstein estate and lives a life of promiscuity and debauchery. While in the forest, her leg is caught in a trap and she is freed by her cousin and neighbor Baron Wilhelm (Peter Fonda), whom she has never met because of a long-standing family feud. She becomes enamored with Wilhelm, but he rejects her for her wicked ways. His rejection infuriates Frederique and she sets his stables on fire. Wilhelm is killed attempting to save his prized horses. One black horse somehow escapes and makes its way to the Metzengerstein castle. The horse is very wild and Frederique takes it upon herself to tame it. She notices at one point that a damaged tapestry depicts a horse eerily similar to the one that she has just taken in. Becoming obsessed with it, she orders its repair. During a thunderstorm Frederique is carried off by the spooked horse into a fire caused by lightning that has struck. Written by Vadim and Pascale Cousin and shot in Roscoff. Part II: “William Wilson” directed by Louis Malle. It is said, gentlemen, that the heart is the seat of the emotions, the passions. Indeed. But experience shows that it is the seat of our cares. In the early 19th century when Northern Italy is under Austrian rule, an army officer named William Wilson (Alain Delon) rushes to confess to a priest (in a church of the “Città alta” of Bergamo that he has committed murder. Wilson then relates the story of his cruel ways throughout his life. After playing cards all night against the courtesan Giuseppina (Brigitte Bardot), his double, also named William Wilson, convinces people that Wilson has cheated. In a rage, the protagonist Wilson stabs the other to death with a dagger. After making his confession, Wilson commits suicide by jumping from the tower of “Palazzo della Ragione”, but when seen his corpse is transfixed by the same dagger. Written by Malle, Clement Biddle Wood and Daniel Boulanger. Part III: “Toby Dammit” directed by Federico Fellini. This film will be in color. Harsh colors, rough costumes to reconcile the holy landscape with the prairie. Sort of Piero della Francesca and Fred Zinneman. An interesting formula. You’ll adapt to it very well. Just let your heart speak. The modern day. Former Shakespearean actor Toby Dammit (Terence Stamp) is losing his acting career to alcoholism. He agrees to work on a film, to be shot in Rome, for which he will be given a brand new Ferrari as a bonus incentive. Dammit begins to have unexpected visions of macabre girl with a white ball. While at a film award ceremony, he gets drunk and appears to be slowly losing his mind. A stunning woman (Antonia Pietrosi) comforts him, saying she will always be at his side if he chooses. Dammit is forced to make a speech, then leaves and takes delivery of his promised Ferrari. He races around the city, where he sees what appear to be fake people in the streets. Lost outside of Rome, Dammit eventually crashes into a work zone and comes to a stop before the site of a collapsed bridge. Across the ravine, he sees a vision of the little girl with a ball (whom he has earlier identified, in a TV interview, as his idea of the Devil). He gets into his car and speeds toward the void.The Ferrari disappears, and we then see a view of roadway with a thick wire across it, dripping with blood, suggesting Dammit has been decapitated. The girl from his vision picks up his severed head and the sun rises. Written by Fellini and Bernardino Zapponi and adapted from ‘Never Bet the Devil Your Head’… Who but Vadim could cast Jane Fonda’s own brother as her object of desire? And she’s terrific as the jaded sexpot. Delon is marvellous as Poe’s ego and id, haunting himself; with Bardot turning up as a peculiarly familiar iteration of what we know and love. And then there’s the wonderful Terence Stamp as Toby, the scurrilous speed freak. This portmanteau of European auteurs having a go at Poe is the dog’s. Watch it over and over again to pick up on all the connections and beauty within. Uneven, fiendishly sexy, ravishingly brutal, moralistic and really rather fabulous. Makes you wish it was fifty years ago all over again. Oh, no. I’m English, not Catholic. For me the devil is friendly and joyful. He’s a little girl.
What a potentially terrific project this was: a British western, made in Spain, shot by Edward Dmytryk and pairing the sex symbols of the era, Sean Connery (in between Bonds) and Brigitte Bardot. An adaptation of a 1962 novel by Louis L’Amour (c’mon, how many books did this genius write?!) it’s the story of an aristocratic European hunting party in New Mexico, led on a safari through an Apache reservation by unscrupulous guide, Stephen Boyd. Countess Irina (Bardot) finds herself separated from her companions and kills an Apache, at which point she encounters Shalako (Connery) who comes to her rescue.The natives are restless and Shalako warns everyone to leave this land, which is subject to treaty. Their refusal prompts an attack after Shalako goes for help. Meanwhile Bardot is left behind with the party and is a crack shot, while a dumb American senator underplays the danger and Honor Blackman (who co-starred with Connery in Goldfinger) does the dirty on debt-ridden husband Jack Hawkins when the going gets tough. Dmytryk doesn’t seem entirely at home with the genre’s mechanics and some of the landscape is photographed lazily. When Bardot and Connery finally have their moment it doesn’t fizz as it should: whether it’s down to the writing, the lack of chemistry, the staging, is open to debate. Shot in Almeria, this doesn’t have the cojones or the contours of the era’s spaghetti westerns, but it’s a watchable curiosity, not least for the sight of Eric Sykes as a resourceful British butler. Adapted by JJ Griffith and Hal Hopper.
Never did terrorists look lovelier than here, in Louis Malle’s subversive take on the buddy movie with Brigitte Bardot an IRA activist teaming up in Mexico with vaudeville performer Jeanne Moreau and getting more popular as they incorporate stripping into their musical act. They fall for the revolutionary leader Flores (George Hamilton) and join him and his comrades in trying to overthrow the regime of El Dictador (Jose Angel Espinoza). When Flores is shot Maria 1 (JM) agrees to fulfill his deathbed desire and the Marias organise a peasant army … Malle instructed writer Jean-Claude Carriere to incorporate the tropes of the action adventure and westerns like Vera Cruz, just with female protaganists and financing was finalised only with Moreau’s participation. The two ladies got on very well together during a 16 week shoot on location and this was a huge hit in its day. Hamilton is excellent as their male foil leading Malle to wonder why he didn’t act more. The cinematography by the great Henri Decae is sublime and Georges Delerue supplies a suitably gorgeous score. The laughs never quit!
It’s always good to see Brigitte Bardot, even in a lesser crime drama. She’s the young wife of the dentist (Henri Vidal) who has a one-night stand (with Dawn Addams) that is photographed in a bid to blackmail him. She follows him to the dance studio where the tryst took place and finds him with his lover’s corpse and a gun in his hand – then goes undercover as a teacher to root out the real culprit… Adieu, trystesse! Interesting for an excursion to a drag club, a gay villain and the performance of Serge Gainsbourg as Addams’ lover and it’s the final film of Vidal who died immediately after shooting. The dialogue is a little on the nose for what is essentially a comic mystery. But the more BB finds out, the more revealing her costumes become and she dances up a storm, as you’d expect from a trained ballerina. Gainsbourg sings the title song in a film which made less than BB’s previous hits yet she earned more than she ever had before in terms of salary, leading her producer, Raoul Levy, to sever their collaboration, claiming she was finished. Incroyable!