The Queen star took to the stage at the event in Malta to accept a prize for her contribution to world cinema and she used the opportunity to reference Moreau in her acceptance speech, telling the audience, "Thank you for the great honour of recognising that I too am a f**king w**re - and I am very very proud of it."
Mirren's outburst mirrored a speech by Moreau, who won a similar honour at the 2007 event and proclaimed: "We are the f**king wonderful w**res of European cinema."
Continue reading: Helen Mirren Gives Foul-mouthed Speech At European Film Awards
It's clear from the opening minutes of "Elevator to the Gallows" why this 1957 film -- with it's ahead-of-its-time sense of style, its haunting-yet-cool score improvised by Miles Davis and its ironic, post-modern take on film noir -- became the progenitor of a whole New Wave in French cinema.
The uncomplicated yet ingeniously knotted plot takes a classic noir murder -- a man killing his lover's husband so they can be together -- strips away the genre clichés and infuses the film with the introspective moodiness, dynamic camerawork, unadorned location shots, and stylized but emotionally naked performances that would become a hallmark of the New Wave pictures that followed by Francois Truffaut, Jean-Luc Godard, Claude Chabrol, Jacques Rivette, Eric Rohmer and Malle himself.
To put it in backwards-thinking terms, the 24-year-old Malle was the Quentin Tarantino of his day, giving French cinema a creative, instantly influential shot in the arm that spawned imitators and opened new horizons in directorial thinking.
Continue reading: Review
Handed his death sentence by his doctor, Romain chooses to let his cancer kill him rather than suffer through the indignities of debilitating treatment that even the doctor admits has only a five percent chance of working. But now what? Romain's first instinct is to push everyone away in order to protect them from the pain of watching him die. Always prickly with his family, who have struggled with his homosexuality, a family dinner he attends turns positively toxic when Romain insults his fragile mother (Marie Rivière) and father (Daniel Duval) and calls his sister (Valeria Bruni-Tedeschi) a bad mother. When his father drives him home, Romain asks him, "Do I frighten you?" Dad replies, "Yes, sometimes." Through all this, Romain has forgotten to tell them his big news.
Continue reading: Time To Leave Review
Gallows gives us a familiar setup: Woman (Jeanne Moreau) wants rich husband dead. Her lover Julien (Maurice Roget), who works for the man, murders him and makes it look like a suicide. But Julien leaves his rope outside his penthouse office window. With all his gear in the car, Julien heads back to retrieve the evidence, but security guards shut off the power in the elevator on the way down. Meanwhile, the car is stolen, the young couple who take it pretend they're Julien and wife, and subsequently kill a pair of German tourists. Julien is unknowingly framed for that crime, all while trying to escape the elevator he's stuck in.
Continue reading: Elevator To The Gallows Review
Kathleen Turner is preparing to dump Hollywood in favour of Europe, because she hates America's ageist attitudes and fascination with teen icons.
The 51-year-old star is disgusted by the rise of young stars like Paris Hilton and Lindsay Lohan and wants to move to Rome, Italy, and enjoy the same European success as veteran stars Jeanne Moreau, Catherine Deneuve and Sophia Loren.
She says, "Once my daughter Rachel (18) starts university, I'm going to Europe because I think women of my experience and my body of work are so much more respected there.
Continue reading: Turner To Quit Hollywood
Continue reading: Beyond The Clouds Review
A shockingly lithe Robert De Niro stars as Monroe Stahr, a 1930s studio executive based on Irving Thalberg (a prolific producer who died at the age of 37, presumably from overwork). Stahr has lost loves in the past and a crushing chip on his shoulder in the present. He's a workhorse, but he wants something more out of life.
Continue reading: The Last Tycoon Review
Continue reading: Going Places (1974) Review
A nearly identical story is done a bit more effectively in 1984's Tricheurs, but Jacques Demy's early film has some compelling moments, most notably a sudden and powerful ending that is wholly unexpected but is surprisingly satisfying. Bay of Angels ought to be a film school lesson in how to end a movie.
Continue reading: Bay Of Angels Review
In Vadim's rendition, Valmont (Gérard Philipe) is married to Juliette de Merteuil (Jeanne Moreau), and together they get their kicks by preying on the weaknesses of other high-society types. Juliette sets her sights on Cecile (Jeanne Valérie), soon to be married to someone who has crossed her in the past, and sets Vamont onto turning the innocent (but naive and manipulatable) girl into a sexpot-in-training. Meanwhile, Valmont falls in love with the genuinely virtuous Marianne (Annette Vadim), and a love-quadrangle soons spins out of control.
Continue reading: Les Liaisons Dangereuses Review