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...worst, Cloportes is a squashy but grimly amusing study of insect behavior. At best, it pins down some first-rate talent. France's Singing Idol Charles Aznavour wryly impersonates a crook-turned-cultist whose swami act is last seen floating in the Seine, and Veteran Actress Françhise Rosay rabbets in some surprises as a hardened crone who rents out high-powered burglary tools by the hour. Any doubt that the female is the deadlier of the species is dispelled by shapely Irina Demick, who shows up rather late as an art gallery receptionist all abustle with...

Author: /time Magazine | Title: Cinema: Bug Study | 5/6/1966 | See Source »

...World of Charles Aznavour...

Author: /time Magazine | Title: Theater: Of Love & Deeper Sorrows | 10/22/1965 | See Source »

...France's Charles Aznavour it is the transiency of love that hurts. L'amour c'est comme un jour-it dawns, it dies. C'est fini, he cries, with desolate finality. You've Let Yourself Go is an unsparing plaint of conjugal disenchantment. Aznavour has none of the rakish charm of Maurice Chevalier, the ebullient high spirits of Charles Trenet, or the blatant sex appeal of Yves Montand. But he has two qualities that none of them possess with the same intensity-fire and sorrow. He was trained by Edith Piaf, and if one closes...

Author: /time Magazine | Title: Theater: Of Love & Deeper Sorrows | 10/22/1965 | See Source »

Although Charles Aznavour is a Parisian, he is Armenian by blood, and his keening laments have echoes of the Middle East in them. Their deepest roots are not in the Paris streets but in the tavernas of Greece, the souks of Morocco and the wailing wall of Jerusalem. Aznavour has the power to affect an audience the way he does because he sings of a betrayal beyond love, something unutterably sad at the heart of things, the treacherous, tragic nature of life itself...

Author: /time Magazine | Title: Theater: Of Love & Deeper Sorrows | 10/22/1965 | See Source »

Director Elio Petri is deft and stylish with an escapade between a svelte, sexually inhibited matron (Claire Bloom) and an ardent industrialist (Charles Aznavour). After chasing around the tycoon's sumptuous beach house, the lady reveals that her whim for today is rough stuff in a sleazy motel room-a touch of aberration that is clue to a conventional surprise ending. In the last episode, Modern People, directed with rich detail and folksy color by Mario Monicelli (Big Deal on Madonna Street), a cheese dealer (Ugo Tognazzi) offers his wife to a creditor in payment of his gambling losses...

Author: /time Magazine | Title: Cinema: Shaking the Bedclothes | 7/23/1965 | See Source »

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