Fanfan la Tulipe (1952)

I’ve been on a swashbuckler spree these past few weeks, what with a couple of Hindi films and then the Bengali film, Jhinder Bondi. Before I drift off into another genre, I decided I may as well finally watch a film that has been in my to-watch pile for several years now: Fanfan la Tulipe, or Fanfan the Tulip, a swashbuckler with plenty of comedy and romance thrown in. This, originally made by director Christian-Jaque in 1952, was remade in 2003, this time being directed by Gérard Krawczyk.

Fanfan la Tulipe starts off funnily with a dryly witty narration about war, which plays out against a background visual of French soldiers at war. It is the reign of Louis XV (Marcel Herrand). The Seven Years’ War is in progress, and with more men having been killed than are left alive, Louis (who loses hats, not heads, and is therefore able to swiftly get a new hat every time) announces that more Frenchmen must enlist.

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Les Quatre Cents Coups (1959)

This is the 400th post on this blog.

And, what with my penchant for honouring precedents, I couldn’t pass up this opportunity to watch a film that has that number—400—in its title. Les Quatre Cents Coups (known in English as The Four Hundred Blows, though the actual translation would be closer to ‘the four hundred dirty tricks’) was directed by François Truffaut, one of the most prominent pioneers of French New Wave cinema. It was Truffaut’s first full-length feature film, a work that not only won much critical acclaim, but also led Truffaut to make a series of sequels featuring the same lead character…

…who is, in Les Quatre Cents Coups, the twelve-year old Antoine Doinel (Jean-Pierre Léaud).

Jean-Pierre Léaud as Antoine Doinel in Les Quatre Cents Coups
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Plein Soleil (1960)

I’ve spent the past month—and more—focussing solely on Indian cinema. Time for a change, I thought.
This, therefore. Director René Clément’s Plein Soleil (literally, ‘Full Sun’, but known as Purple Noon) is a French adaptation of Patricia Highsmith’s The Talented Mr Ripley, and was the first major film of Alain Delon, who really does dominate the film. In more ways than one.

Alain Delon in Plein Soleil

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Don Camillo (1952)

I am not a party animal. I do not drink. I have two left feet. Loud music makes my head throb. I find it difficult to keep awake after 11 PM. So when friends ask, “What’re you doing on New Year’s Eve?” I say, “Watching a movie at home.”
And what better way to say goodbye to a bad year with a film that you hope will be a sign of things to come? A movie that embodies all the joy you want for the dawning year?

Don Camillo (Le Petit Monde du Don Camillo in French – it was a Franco-Italian production) is the story of a little town in the Po Valley in Italy. Even though it is named for its lead character, the Catholic priest of the town, the film is not just about the hot-headed Don Camillo and his arch-enemy, the communist Mayor Peppone, but about the little town itself.

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Les Vacances de Monsieur Hulot (1953)

Beth, commenting upon Arsenic and Old Lace, said she didn’t like films that she labelled `wackadoodle’ (what a delightfully apt word: each syllable says it all!): all that frantic running around and the ceaseless activity was just too exhausting for the viewer.
This review, therefore, even though I saw the film before Beth posted that comment, is dedicated to Beth. Because Les Vacances de Monsieur Hulot (Mr Hulot’s Holiday) is a film sure to appeal to anyone who likes their humour less fast-paced.

Les Vacances de Monsieur Hulot - poster

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