Word: debroca
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...film "King of Hearts" starring Alan Bates, directed by Philippe deBroca, began its run in 1971 as a "fluke," assistant theater manager David C. Skinner said Sunday. The film began as a co-feature in the double-screen theater, only to skyrocket to a five-year engagement that became a Cambridge classic...
...some of the sets up to Boston was fire-bombed by Molotov-happy kids, delaying the opening by a full week), but the special problem of transferring a beloved movie--a cult film, particularly in Cambridge, where it ran for five and a half years--into a popular musical. DeBroca's fable of lovable loonies running rampant in an abandoned French town during World War I has a dedicated following, may of whom aren't going to like the jazzed-up musical version, complete with German and America (not British) trenches rising from the orchestra pit, no matter how good...
Curiously, Brackman is not one of the film version's devotees. "I never liked the film that much, but when it was suggested as a musical, I knew it was a great idea. The obstacle was to persuade deBroca, but he was persuaded that it was the young people of America who had made the film." Hmm. Forensic skill...
Dear Inspector-The New England premiere of Phillippe deBroca's latest, a charming combination of love story and mystery. The combination doesn't quite make it, but the combination of Annie Giradot as the harried inspector on a big case and falling in love all at once and Phillipe Noiret as her college professor-lover. Entertaining and very pleasant, but don't go looking for a big mystery...
...favorite "Cousin, Cousine" to capture the Best Foreign Film Oscar. And deservedly so: "Black and White in Color" is an extraordinarily intelligent and sophisticated allegory, a thematically subtle, visually striking film in many ways reminiscent of Phillippe De Broca's anti-war fable "The King of Hearts." But while DeBroca's film represented an attack on the absurdity of war and the modern world in general, "Black and White in Color" functions not only as a broad anti-war and anti-colonialist allegory, but also as a devastating, blackly humorous indictment of early 20th century European--particularly French--culture...