Tontine Trouble: The Wrong Box (1966)


“A tontine is, in point of fact, a lottery — a lottery, plain and simple, gentlemen. Into this tontine each parent or guardian has placed for each of you, and in your name, the sum of one thousand pounds sterling. The sum so constituted is to be administered by a self-perpetuating board and held in trust by them for whomsoever survives. This £20,000 will grow and grow under astute management who will charge but a nominal fee, and this — by then — great sum will be handed to the one amongst you who is the last surviving member of the tontine. It is as plain and as simple as that.” So the premise is laid out at the start of Bryan Forbes’s 1966 film The Wrong Box, though “plain” and “simple” are hardly the right words for the farce that follows.

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Borne Back Ceaselessly into the Past: Je t’aime, je t’aime (1968)

Time Travel

“You don’t seem to care.”
“No. What else can happen to me?”

Upon leaving the hospital after a failed suicide attempt at the start of Alain Resnais’s 1968 film Je t’aime, je t’aime, Claude Ridder (Claude Rich) is confronted by two strange men who ask him to get in their car and travel to the Crespel Research Center, a mysterious facility they freely admit that no one has ever heard of, located some thirty miles away. “Let’s go,” he replies indifferently, despite having no idea what they want with him. What initially appears to be a kidnapping or some other crime turns out to be something far more unusual: They want to use Claude as a guinea pig in a time travel experiment.

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Tainted Love: A Place in the Sun (1951)


It’s the sort of scene that shows up in a lot of movies, particularly from classic Hollywood: Two people who have spent precious little time together — in fact, this seems to be their first real date after meeting at a party — declare their love for each other. This particular example, from George Stevens’s 1951 film A Place in the Sun, looks and sounds like a true grand passion, with intense close-ups and breathless voices and romantic music in the background. However, the situation is more complicated than it appears on the surface, and not just because George Eastman (Montgomery Clift), the man in this pair, isn’t exactly free to start a new relationship.

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Where a Decent Man Can Breathe Freely: 49th Parallel (1941)


“We are German!”

“Okay. Why yell about it? Moi, j’ai compris. You German. I’m Canadian, he Canadian and he Canadian.”

Johnnie (Laurence Olivier), a French Canadian trapper confronted by Nazi invaders, is making a simple statement of fact, but it also implies something more profound — something, perhaps, that these Nazis can’t even comprehend. After all, the other two Canadians to whom he’s referring are Albert (Finlay Currie), an older man with a Scottish accent, and Nick (Ley On), an Eskimo. Although the three of them may seem to have little in common on the surface, they’re united by the country in which they all live, and their diversity — their individuality — is a key part of that country’s strength.

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A Not-So-Simple Story: The Ascent (1977)

Sotnikov Rybak

Two characters are faced with a choice between self-preservation and self-sacrifice — or, more fundamentally still, between good and evil. One of them takes the former path, the other the latter. Both must then deal with the consequences of their respective decisions. Boiled down to its essence, it’s a tale simple enough to be a parable or a fable, but it’s also the basis for Larisa Shepitko’s powerful, thought-provoking 1977 film The Ascent.

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Hopes and Disappointments: Il Posto (1961)


Life in the working world isn’t exactly turning out the way Domenico Cantoni (Sandro Panseri) might have hoped it would.

Ermanno Olmi’s 1961 film Il Posto is an understated, often documentary-like look at a young man — a boy, really — entering the workforce for the first time. “This is the chance of a lifetime. If you get in there, you’ve got a job for life,” his mother tells him as he sets off for a job interview at a large company in Milan, the nearest city to his small hometown. (He wants to be a surveyor, but because his younger brother is still in school, he has to go to work instead of furthering his own education.) Upon arriving, he finds himself part of a large group of potential employees — most about his own age, a few significantly older. Together, they undergo a series of tests, from math problems to physical fitness examinations to some downright bizarre questions. (“Does the future seem hopeless to you? Do you suffer from frequent itching? Did you wet the bed between the ages of eight and fourteen?”) Despite the intrusiveness of some of this, it all feels rather impersonal. The only real point of interest for Domenico is meeting and befriending one of his fellow applicants, a girl named Antonietta who goes by the nickname Magalì (Loredana Detto). When they both end up getting hired, Domenico looks forward to the chance to spend more time with her — and is immediately disappointed.

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Hidden Depths: Haruko Sugimura

Haruko Sugimura (Source)

If a viewer watches enough of Yasujirô Ozu’s work, many of the actors become as familiar as old friends. Perhaps it’s something in the nature of his films, in their largely low-key, down-to-earth, everyday quality, or perhaps it’s because the actors who appear in multiple Ozu movies often play similar characters. At any rate, there’s a definite pleasure in seeing certain faces pop up again and again. Along with the iconic Setsuko Hara and the ubiquitous Chishû Ryû, one of the most memorable of these performers is Haruko Sugimura — even if her characters aren’t always particularly pleasant people.

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Car Crazy: Le Départ (1967)

Marc DrivingMarc (Jean-Pierre Léaud), the car-obsessed protagonist of Jerzy Skolimowski’s 1967 film Le Départ, is eager to take part in his first motor rally in a few days, though there is one slight snag yet to be overcome: He doesn’t have a car. More to the point, he registered for the race as a Porsche driver, so unless he shows up in a Porsche, he won’t be allowed to participate. Lacking the funds necessary to rent one, he intends to “borrow” his boss’s vehicle (which entails hot-wiring it and sneaking it out of a garage in the dead of night), but upon discovering that his boss (Paul Roland) intends to go away for the weekend in said vehicle, he’s forced to come up with a new plan of action, legal or illegal — mostly the latter.

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Setting Sun: The Death of Louis XIV (2016)


“From the moment that Albert Serra asked me to act in this film, and that I was in a position where I was being filmed with three cameras in one particular location, I became trapped within an experience that almost simultaneously was the experience of my own death,” Jean-Pierre Léaud said of Serra’s The Death of Louis XIV (2016). “It illustrates the quote from Jean Cocteau: ‘Cinema is the only art that can capture death at work.'”

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