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...introduction to Beckett's ability to combine heightened abstraction and idiom in a comic synthesis (even in serious criticism). The essay begins: "The danger is in the neatness of identifications. The conception of Philosophy and Philology as a pair of nigger minstrels out of the Teatro dei Piccoli is soothing, like the contemplation of a carefully folded hamsandwich...

Author: By Tom Keffner, | Title: Beckett: Reclaiming the Unusable | 11/3/1976 | See Source »

Here, a French gunrunner (Michel Piccoli) and a British officer (Michael York) dash about North Africa during the early days of World War II, trying to avoid the Germans and get back to safety. Our boys do fairly well for themselves, but the stresses of escape and pursuit weigh heavily. "Let's surrender," suggests the Englishman after a particularly grueling day. "Why?" asks his French ally. "Because,' says the Englishman with invincible and poignant common sense, "I'm hungry...

Author: /time Magazine | Title: Cinema: Airy Adventure | 6/2/1975 | See Source »

This is a nasty bit of French baggage about a pair of sisters (Romy Schneider and Mascha Gomska) who fall in with the insurance-fraud schemes of a provincial lawyer (Michel Piccoli) and end up in his bed. Director Girod handles the sexual passages with a cool discretion that contrasts oddly with the hot pornographic spirit he brings to the trio's murderous doings. The film's gruesome centerpiece is a bloodbath double murder, followed by an acid bath of several days' duration to dispose of the corpses. A few critics have suggested that Le Trio Infernal...

Author: /time Magazine | Title: Cinema: Acid Bath | 12/9/1974 | See Source »

Wedding in Blood, a fine Chabrol film about crimes of passion with brilliant performances from Michel Piccoli and Stephane Audran, is moving to Central Sq. along with Bergman's The Touch. Lucia is staying at the Welles, but not for too much longer, so catch it while...

Author: NO WRITER ATTRIBUTED | Title: THE SCREEN | 7/16/1974 | See Source »

...devine. The most disquieting shortcoming is in the way the movie deals with the relationships between people. In a film that is so richly textured, there is a surprising lack of feeling to personal interactions. For instance, it is never really clear what stuff the passion of the Audran-Piccoli affair is made of. How much romantic love there is, how much of the relationship is just an attempt to give life to a thrwarted sexuality, is just never defined satisfactorily. Perhaps Chabrol did not think such definitions important. Perhaps all we have to know is that the lovers shared...

Author: By Geoffrey D. Garin, | Title: The Morality Play as Thriller | 7/9/1974 | See Source »

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