Li'l Duce's Reviews Palace

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The Professional (1983) Excellent for Morricone's slapped bass score and the car chase. The rest you saw it before and better. 5\10

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The Burglars (1971) I saw this in the theatres and some of the scenes remained impressed in my memory, especially when Belmondo and Dyan Cannon play the sex book game. I didn't remember though the best parts of the movie which are the action ones with Belmondo performing stunning stunts on his own. Add Sharif's performance and Morricone's  good score and a 8\10 is well earned.

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Le Corps de Mon Ennemi (1976) At imdb two reviewers dub it as "ambitious". I agree: the plot is as uninventive as can be, the shooting tricks are wasted and  the whole is unredeemed by Belmondo's presence. Some good strip tease earn it a 5\10.

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Fantômas contre Scotland Yard (1967) Last entry of the threesome and weakest. That termnated the series. 3\10

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The Cruel Sea (1954) Very good sea warfare flick. Great performance by Hawkins, the story is gripping though in a subdued vein. 8\10

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The Burglars (1971) I saw this in the theatres and some of the scenes remained impressed in my memory, especially when Belmondo and Dyan Cannon play the sex book game. I didn't remember though the best parts of the movie which are the action ones with Belmondo performing stunning stunts on his own. Add Sharif's performance and Morricone's  good score and a 8\10 is well earned.

yes this was good, partly cuz it was unintentionally funny/ridiculous. Belmonodo playing the American - specifically ordering the steak and french fries as a contrast to Sharif's European food. Belmondo with the heavy French accent, not just happens to be an American, but supposed to be a  specific contrast to the European. And some of the other shit was unintentionally funny in a ridiculous way. I do agree with the 8/10 rating.

And this obviously had  a TOTALLY different feel But the original, The Burglar, with Dan Duryea (the original was better). Also, the Duryea movie explained his relationship with Mansfield (albeit awkwardly, in a dream) it was really unclear in the Belmondo movie.

I thought it was hilarious when the girl pulls the porn mag out of Belmondo's pocket. I LEAVE YOU FOR ONE MINUTE AND YOU BECOME A CRAZED SEX .....

I don't know of many movies that can pull off being so funny (in what I think was) accidentally

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Espion, lève-toi (1982) Gripping, though murky, story.  But I could watch the lead Ventura and Piccoli  no end. 7\10

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Any Number Can Win (Melodie en sous-sol) (1963). The finale is A+, the caper well-done, though I wondered if there wasn't an easier way to open up the door by which Gabin enters in the vault), the rest has a sumnambolic Gabin and a good Delon. 7\10

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The Steel Helmet (1951) It has its moments but the sequence inside the temple searching for the ambusher is hard to digest: where does he hide? And so is the boy. And some of the dialogues (especially between the north-korean prisoner and the black and the korean-american) are too programmatic. 7\10

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Army of Shadows (L'armée des ombres)(1969) One of the best Melville. The only gripe I have is the moronic choice by Cassel to denounce himself to help his ex airforce pal to escape or even die.  A mystery how he can be sure he will be put in the same cell. 8\10

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Bob le flambeur (1956) Didn't like it as much when I saw it on tv dubbed many eons ago. A great noir, with a great performance by Corey, for once depicting a empty-headed girl as such. 9\10 

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Léon Morin, prétre (1961) Recommended to insomniacs.

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Witness for the Prosecution (1957) I first saw it in a theatre in the mid sixties. Again on tv in the '80's. This third time of course in english and if I remember well probably the dubbing enhamces Laughton's performance. which I don't find so impressive as many do: I don't especially like his delivery, sometime he mumbles his lines. I like Power much better, if you ask me. Dietrich is too old I think, and little attractive. Or maybe is the role that is too moronic, as the whole plot: one wonders what a nurse is doing near a heart disease suffering patient, allowing him to smoke cigars and drink brandy.. But Dietrich's german scene with Power is remarkable. The forte of the movie are the dialogues, which make the whole movie appealing.  8/10 

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All About Eve (1950) What I didn't like about it? I could be crucified for it bu it was the main duo Davis- Baxter. Especially Baxter: she's not attractive, she only has a register when playing the innocent girl (plainly showing her hand, especially to people who ought to be able to tell a good actress) or playing the bitch or just simply being interviewed (see the extra on the second disk): same way of telling the lines and pauses, same way to hang her head to acquire rhythm, bah. There should have been a role switching with Barbara Bates. And then, is it credible that the REAL Bette Davis wouldn't have got ridden of her in a second? Why should she be suffering her presence? About Davis, well, she's impeccable but there are few moments which go beynd the already seen (the scene with Merrill in the theatre especially). And I have to suffer her wrinkled face for the whole movie. So when Monroe and Bates enter the screen, well, I felt a sense of relief. I don't think that Colbert would have made a worse job out of it. And Swanson deserved that Oscar more than her (though they stole votes reciprocically favouring Holliday, my god). And Sunset Boulevard is the better movie 8/10       

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Good Morning, Night (2003) I always thought tha Bellocchio's career might well have ended after his first 2 and 1\2 movies. This one confirms my pov. His approach to the Moro case is dubious: on one hand he centres his attention on the female character, on the other he can't help coming to grip with History. so it all ends up not being clear on both counts: We may know a little background of the girl, but nothing about what pushed her towards terrorism: having had a father in the Resistance is too weak a reason. On the other hand, I personally apprehended nothing new about the case (and there was  and still is very much to know).  So, though Bellocchio knows where to put a camera, it helps little for making his film a good one. Only the imaginary scenes with Moro (a great Herlitzka: cannot compare him to Volontè's performance in the same role, yet) walking free the streets of southern part of Rome really made an impression. 6\10