Grease (1978)

Grease (1978)

Taglines: Grease is the word.

In the summer of 1958, Sandy Olsson (Newton-John) meets local boy Danny Zuko (Travolta) at the beach while on vacation and they soon fall in love. As the summer comes to an end, Sandy worries about returning home to Australia and never seeing Danny again, but he assures her that it is only the beginning for them.

On the first day of their senior year at Rydell High, Danny, the leader of a greaser gang known as the T-Birds, meets with his fellow T-Birds, Kenickie (Jeff Conaway) (second-in-command and Danny’s best friend), Sonny (Michael Tucci), Doody (Barry Pearl), and Putzie (Kelly Ward), and they all catch up on what they did over the summer. Danny briefly mentions that he met a girl and they joke around with it.

Sandy, meanwhile, enrolls at Rydell after an apparent change in her plans but is unaware of Danny’s presence, as is he of hers. Sandy has made friends with Frenchy (Didi Conn), a member of the Pink Ladies, an associated female equivalent of the T-Birds. Frenchie introduces Sandy to fellow Pink Ladies Rizzo (Stockard Channing), the group’s leader, Jan (Jamie Donnelly), and Marty (Dinah Manoff). Rizzo notes she looks “too pure to be Pink.”

Grease (1978)

At lunch, Sandy tells them about meeting an amazing boy over the summer and falling in love (“Summer Nights”). After Rizzo discovers she is speaking of Danny, her ex-boyfriend, she deviously arranges a surprise meeting at a pep rally. Despite his excitement at seeing her, Danny acts indifferently in an effort to protect his cool reputation, causing Sandy to run off in disgust. Frenchy invites Sandy over to her house to join the rest of the girls for a slumber party that night to cheer her up

At the party, Rizzo mocks Sandy (“Look at Me, I’m Sandra Dee”) and the other girls join in, until Sandy overhears and goes outside to be alone where she laments missing Danny (“Hopelessly Devoted to You”). The T-Birds crash the party and Rizzo ends up driving off alone with Kenickie. Later, their makeout session is interrupted by Leo (Dennis C. Stewart), the leader of the Scorpions, a rival greaser gang from another high school. Leo rear-ends Kenickie’s car, insults them, and drives away.

After the T-Birds help repair Kenickie’s car (“Greased Lightnin'”) in autoshop class, Danny asks Coach Calhoun (Sid Caesar) to help him find a sport so he can impress Sandy, who has begun dating Tom (Lorenzo Lamas), one of the school’s football players. After trying various sports, Danny eventually discovers an aptitude for track and rekindles his relationship with Sandy.

They attempt a date at the Frosty Palace, a local malt shop hangout, but their date is crashed by both the Pink Ladies and the T-Birds, who are gradually pairing off. Kenickie and Rizzo have an argument and the two groups depart, leaving Frenchy alone to ponder the wisdom of dropping out of high school to attend beauty school after a mistake in hair dyeing class turned her hair bubblegum pink. She is then visited by her guardian angel (Frankie Avalon), who urges her to return to high school (“Beauty School Dropout”).

A few weeks later, the school dance arrives. Rydell High had been picked for a live national TV broadcast on National Bandstand, hosted by DJ Vince Fontaine (Edd Byrnes) (a fictional version of Alan Freed), who flirts with Marty throughout the night. Rizzo and Kenickie attempt to score off each other by bringing Leo and his on-and-off girlfriend Cha Cha (Annette Charles), who was with Leo when he interrupted their makeout session, respectively as their dates, while Danny and Sandy go together. During the final dance, Danny and Cha Cha (who were also once boyfriend and girlfriend) perform together and win the national dance-off (“Born to Hand Jive”), which hurts Sandy’s feelings. She leaves alone.

Grease is a 1978 American musical romantic comedy film directed by Randal Kleiser and produced by Paramount Pictures. The film is an adaptation of Warren Casey and Jim Jacobs’ 1971 musical of the same name about two lovers in a 1950s high school. The film stars John Travolta, Olivia Newton-John, Stockard Channing and Jeff Conaway.

Released on June 16, 1978, the film was successful both critically and financially at the box office, becoming the highest grossing film of the year. As of 2016, the film remains the highest-grossing movie musical in the United States. Its soundtrack album ended 1978 as the second-best selling album of the year in the U.S., behind the soundtrack of Saturday Night Fever, another film starring Travolta. The soundtrack is also the top-selling soundtrack in history. The film was nominated for one Academy Award for Best Original Song. A sequel, Grease 2, was released in 1982, featuring few cast members reprising their roles.

Grease Movie Poster (1978)

Grease (1978)

Directed by: Randal Kleiser
Starring: John Travolta, Olivia Newton-John, Stockard Channing, Jeff Conaway, Barry Pearl, Michael Tucci, Kelly Ward, Dinah Manoff, Eve Arden, Frankie Avalon
Screenplay by: Bronte Woodard
Production Design by: Philip M. Jefferies
Cinematography by: Bill Butler
Film Editing by: John F. Burnett
Costume Design by: Albert Wolsky
Set Decoration by: James L. Berkey
Distributed by: Paramount Pictures
Release Date: June 16, 1978

Deep End (1971)

Deep End (1971)

Taglines: If you can’t have the real thing– you do all kinds of unreal things.

Mike (John Moulder Brown), a 15-year-old dropout, finds a job in a public bath. There he is trained by his co-worker Susan (Jane Asher), a girl ten years his senior. Susan is a tease who plays with Mike’s and other men’s feelings, acting sometimes warm and affectionate and other times cold and distant.

Working in the bathhouse turns out to involve providing services to clients of a more or less sexual nature, in exchange for a tip. For example, an older woman (Diana Dors) is sexually stimulated by pushing Mike’s head into her bosom and talking suggestively about football. Mike is confused by this and at first does not want to accept the tip he gets, but Susan tells him that these services are a normal practice, including exchange of her female clients for his male clients whenever a client prefers the opposite sex.

Mike fantasizes about Susan and falls in love with her, even though she has a wealthy and handsome young fiancé, Chris (Chris Sandford). Mike also discovers that Susan is cheating on her fiancé with an older, married man (Karl Michael Vogler) who was Mike’s physical education teacher and works at the baths as a swimming instructor for teenage girls, touching them inappropriately. Mike begins following Susan on her dates with Chris and the instructor and trying to disrupt them.

Deep End (1971)

Although Susan often gets angry at Mike for this, she provides just enough encouragement to cause him to continue the behavior. Mike’s infatuation with Susan continues despite his friends mocking him, his mother being treated rudely by Susan, his bicycle being destroyed by Susan, and his activities drawing the ire of Susan’s boyfriends, local police, and Mike’s boss at work. Obsessed with Susan, Mike refuses other outlets for sex, such as his former girlfriend and a prostitute who offers him a discount.

While following Susan on a date, Mike sees and steals a life-size advertising photo cutout of a naked girl who resembles Susan. He confronts Susan with it on the London Underground, flying into a violent tantrum in front of other passengers when Susan teasingly refuses to tell him whether she posed for the nude photo. Mike then takes the cutout to the deserted baths after hours and swims naked with it, embracing it.

The next morning, Mike disrupts the instructor’s foot race and punctures the tyres of the instructor’s car while Susan is driving it. Susan gets mad and hits Mike, in the process losing the diamond from her new engagement ring in the snow. Anxious to find the lost diamond, Mike and Susan collect the surrounding snow in plastic bags and take it back to the closed baths to melt it, using a lowered ceiling lamp outlet to heat an electric kettle in the empty pool.

While Susan is briefly out of the room, Mike finds the diamond in the melted snow, and lies down naked in the dry pool with the diamond on his tongue. He teases Susan by refusing to give her the diamond until she undresses. She does so, he gives her the diamond and she is about to leave, but she reconsiders and lies down next to him. They have a sexual encounter, although it is not clear whether Mike is able to perform.

Deep End is a 1970 British-West German drama film directed by Jerzy Skolimowski and starring Jane Asher and John Moulder Brown. Set in London, the film focuses on the relationship between two young co-workers at a suburban bath house and swimming pool.

In 2009, Bavaria Media, a subsidiary of Bavaria Film, which co-produced the film in 1970 through its subsidiary Maran Film, began a digital restoration as part of the film’s 40th anniversary, in cooperation with the British Film Institute. The restored film was re-released in UK cinemas on 6 May 2011 and was released on Blu-ray Disc and DVD on 18 July 2011 in BFI’s BFI Flipside series.[2] In March 2012 it was first shown on TV by Film4.

Deep End Movie Poster (1971)

Deep End (1971)

Directed by: Jerzy Skolimowski
Starring: Jane Asher, John Moulder-Brown, Karl Michael Vogler, Christopher Sandford, Diana Dors, Louise Martini, Erica Beer, Anita Lochner, Anne-Marie Kuster, Cheryl Hall
Screenplay by: Jerzy Skolimowski, Jerzy Gruza
Cinematography by: Charly Steinberger
Film Editing by: Barrie Vince
Costume Design by: Ursula Sensburg
Art Direction by: Max Ott Jr., Anthony Pratt
Distributed by: Paramount Pictures
Release Date: September 1, 1971

The Panic in Needle Park (1971)

The Panic in Needle Park (1971)

Taglines: God help Bobby and Helen. They’re in love in Needle Park.

This movie is a stark portrayal of life among a group of heroin addicts who hang out in “Needle Park” in New York City. Played against this setting is a low-key love story between Bobby, a young addict and small-time hustler, and Helen, a homeless girl who finds in her relationship with Bobby the stability she craves. She becomes addicted too, and life goes downhill for them both as their addiction deepens, eventually leading to a series of betrayals. But, in spite of it all, the relationship between Bobby and Helen endures.

The Panic in Needle Park is a 1971 American romantic drama film directed by Jerry Schatzberg and starring Al Pacino in his second film appearance.[2] The screenplay was written by Joan Didion and John Gregory Dunne, adapted from the 1966 novel by James Mills.

The film portrays life among a group of heroin addicts who hang out in “Needle Park” (then-nickname of Sherman Square on Manhattan’s Upper West Side near 72nd Street and Broadway).[3] The film is a love story between Bobby (Pacino), a young addict and small-time hustler, and Helen (Kitty Winn), a restless woman who finds Bobby charismatic. She becomes an addict, and life goes downhill for them both as their addictions worsen, eventually leading to a series of betrayals.

About the Story

In New York City, Helen returns to the apartment she shares with her boyfriend, Marco, after enduring an unhygienic and inept abortion. Helen becomes ill and Bobby, an amiable small-time drug dealer to whom Marco owes money, shows unexpected gentleness and concern for Helen. Helen considers returning to her dysfunctional family, but moves in with Bobby, and when she finds him taking drugs, he explains that he is not an addict, but only uses a little.

At Sherman Square, nicknamed Needle Park for the drug addicts who use it as a hangout to get drugs and get high. At the park, Bobby introduces Helen to various acquaintances, including his brother Hank, who burgles for a living. Helen witnesses the intricate ritual of addicts shooting up heroin.

Bobby and Helen are eventually evicted from their apartment and move into a sleazier one. After Bobby asks her to deliver money to one of his dealers, Helen is arrested and one of the officers, Detective Hotch, explains to Helen about what it’s like when there is a panic in Needle Park. A panic is when the drug supply on the street is low and addicts begin to turn each other into the police in return for favors. Unexpectedly, the officer releases Helen, who returns to Bobby, who begins to use drugs more heavily, and Helen begins to shoot up, too.

Bobby soon realizes Helen is using, and he proposes to her, something that prompts Hank to ask. The proposal prompts Hank to ask what they will live on and offers Bobby work as a burglar, to which Helen objects and insists that she will get a job. However, Helen quickly quits her new waitress job, and just before Bobby is to assist Hank in a burglary, he overdoses. Hank is angry with Bobby for jeopardizing his plans, but he allows Bobby to assist him on another night, during which Bobby is arrested. While he is in jail, Helen finds it harder to get drugs and has sex with Hank for heroin. When Bobby is released, he and Helen have a big fight.

The Panic in Needle Park Movie Poster (1971)

The Panic in Needle Park (1971)

Directed by: Jerry Schatzberg
Starring: Al Pacino, Kitty Winn, Alan Vint, Richard Bright, Kiel Martin, Michael McClanathan, Warren Finnerty, Marcia Jean Kurtz, Rutanya Alda
Screenplay by: Joan Didion
Cinematography by: Adam Holender
Film Editing by: Evan A. Lottman
Costume Design by: Jo Ynocencio
Set Decoration by: Philip Smith
Art Direction by: Murray P. Stern
Distributed by: 20th Century Fox
Release Date: July 13, 1971

The Way We Were (1973)

The Way We Were (1973)

Taglines: Everything seemed so important then .. even love!

The often unlikely joint lives of Katie Morosky and Hubbell Gardiner from the late 1930s to the late 1950s is presented, over which time, they are, in no particular order, strangers, acquaintances, friends, best friends, lovers and adversaries.

The unlikely nature of their relationship is due to their fundamental differences, where she is Jewish and passionate about her political activism both in political freedoms and Marxism to an extreme where she takes life a little too seriously, while he is the golden boy WASP, being afforded the privileges in life because of his background but who on the most part is able to capitalize on those privileges.

Their lives are shown in four general time periods, in chronological order when they attend the same college, their time in New York City during WWII, his life as a Hollywood screenwriter post-war, and his life as a writer for a New York based live television show.

The Way We Were is a 1973 American romantic drama film starring Barbra Streisand and Robert Redford, and directed by Sydney Pollack. The screenplay by Arthur Laurents was based on his college days at Cornell University and his experiences with the House Un-American Activities Committee.

A box office success, the film was nominated for several awards and won the Academy Award for Best Original Dramatic Score and Best Original Song for the theme song, “The Way We Were”,it ranked at number 6 on AFI’s 100 Years…100 Passions survey of the top 100 greatest love stories in American cinema. The Way We Were is considered one of the greatest romantic movies ever.

The soundtrack recording became a gold record and hit the Top 20 the Billboard 200 while the single became a million-selling gold single, topping the Billboard Hot 100 respectively, selling more than two million copies. Billboard named “The Way We Were” as the number 1 pop hit of 1974.

In 1998, the song was inducted into the Grammy Hall of Fame and finished at number 8 on AFI’s 100 Years…100 Songs survey of top tunes in American cinema in 2004. It was also included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts.

The Way We Were Movie Poster (1973)

The Way We Were (1973)

Directed by: Sydney Pollack
Starring: Barbra Streisand, Robert Redford, Bradford Dillman, Lois Chiles, Patrick O’Neal, Viveca Lindfors, Allyn Ann McLerie, Marcia Mae Jones
Screenplay by: Arthur Laurents
Production Design by: Stephen B. Grimes
Cinematography by: Harry Stradling Jr.
Film Editing by: John F. Burnett
Costume Design by: Dorothy Jeakins, Moss Mabry
Set Decoration by: William Kiernan
Music by: Marvin Hamlisch
Distributed by: Columbia Pictures
Release Date: October 19, 1973

Interiors (1978)

Interiors (1978)

Homage to Ingmar Bergman in this family drama involving a fashionable Long Island interior designer who tries to impose her overbearing, critical standards on her husband and her three grown daughters. The film is a realistic look at the relationships among one artistically-oriented family; one daughter is a successful writer; the second is looking for an artistic outlet; and the third is an actress. The mother has been deserted by her husband, their father. She thinks and hopes they may reconcile, but she soon learns that he has other thoughts that circle about a new acquaintance, a woman who has had two husbands and is still lively.

Interiors is a 1978 drama film written and directed by Woody Allen. Featured performers are Kristin Griffith, Mary Beth Hurt, Richard Jordan, Diane Keaton, E. G. Marshall, Geraldine Page, Maureen Stapleton and Sam Waterston.

Page received a BAFTA Film Award for Best Supporting Actress and was nominated for an Academy Award for Best Actress. The film received four other Oscar nominations, two for Allen’s screenplay and direction, one for Stapleton as Best Actress in a Supporting Role and another for Mel Bourne and Daniel Robert for their art direction and set decoration. It is Allen’s first full-fledged film in the drama genre.

About the Story

The film centers around the three children of Arthur (E. G. Marshall), a corporate attorney, and Eve (Geraldine Page), an interior decorator. Renata (Diane Keaton) is a poet whose husband Frederick, a struggling writer, feels eclipsed by her success. Flyn (Kristin Griffith) is a vain actress who is away most of the time filming; the low quality of her films is an object of ridicule behind her back. Joey (Mary Beth Hurt), who is in a relationship with Mike (Sam Waterston), cannot settle on a career, and resents her mother for favoring Renata, while Renata resents their father’s concern over Joey’s lack of direction.

One morning, Arthur unexpectedly announces that he wants a separation from his wife and would like to live alone. Eve, who is clinically depressed and mentally unstable, attempts suicide. The shock of these two events causes a rift between the sisters. Arthur returns from a trip to Greece with Pearl (Maureen Stapleton), a high-spirited and more “normal” woman, whom he intends to marry. His daughters are disturbed that Arthur would disregard Eve’s suicide attempt and find another woman, whom Joey refers to as a “vulgarian”.

Interiors Movie Poster (1978)

Interiors (1978)

Directed by: Woody Allen
Starring: Diane Keaton, Geraldine Page, Kristin Griffith, Mary Beth Hurt, Richard Jordan, Sam Waterston, Missy Hope, Kerry Duffy
Screenplay by: Woody Allen
Production Design by: Mel Bourne
Cinematography by: Gordon Willis
Film Editing by: Ralph Rosenblum
Costume Design by: Joel Schumacher
Set Decoration by: Mario Mazzola, Daniel Robert
Distributed by: United Artists
Release Date: August 2, 1978

…And Justice for All (1979)

...And Justice for All (1979)

Arthur Kirkland (Al Pacino), a defense attorney in Baltimore, is in jail on contempt of court charge after throwing a punch at judge Henry T. Fleming (John Forsythe) while arguing the case of Jeff McCullaugh (Thomas G. Waites).

McCullagh was stopped for a minor traffic offense, but then mistaken for a killer of the same name and has already spent a year and a half in jail; Fleming has repeatedly stymied Kirkland’s efforts to have the case reviewed. Though there is strong new evidence that Jeff is innocent, Fleming refuses McCullaugh’s appeal due to a minor technicality and leaves him in prison. After being released, Arthur takes another case, that of transgender individual Ralph Agee (Robert Christian), arrested for small crime and becoming a victim of the legal system.

When not working, Arthur pays regular nursing home visits to his grandfather Sam (Lee Strasberg), who is becoming senile, giving his grandson advice such as “If you’re not honest, you’re nothing.” It is revealed that Arthur was abandoned by his parents at a young age, and it was Sam who raised him and put him through law school. Arthur also begins a romance with a legal ethics committee member, Gail Packer (Christine Lahti).

One day, Arthur is shocked to find himself requested to defend Fleming, who to everyone’s surprise has been accused of brutally assaulting and raping a young woman. As the two loathe each other, Fleming feels that having the person who publicly hates him argue his innocence will be to his advantage. Fleming blackmails Kirkland with an old violation of lawyer-client confidentiality, for which Arthur likely will be disbarred if it ever comes to light. Gail confirms this off the record.

Judge Francis Rayford (Jack Warden), who has a friendly relationship with Arthur, takes him for a hair-raising ride in his personal helicopter over the harbor and Fort McHenry, laughing as he tests how far they can possibly go without running out of fuel, while a terrified Arthur begs him to land. Rayford, a veteran of the Korean War, is borderline suicidal and keeps a rifle in his chambers at the courthouse, a 1911 pistol in his shoulder holster at all times, and eats his lunch on the ledge outside his office window, four stories up.

...And Justice for All Movie Poster (1979)

…And Justice for All (1979)

Directed by: Norman Jewison
Starring: Al Pacino, Jack Warden, John Forsythe, Lee Strasberg, Jeffrey Tambor, Christine Lahti, Sam Levene, Robert Christian
Screenplay by: Valerie Curtin, Barry Levinson
Production Design by: Richard Macdonald
Cinematography by: Victor J. Kemper
Film Editing by: John F. Burnett
Costume Design by: Ruth Myers
Set Decoration by: Thomas L. Roysden
Art Direction by: Peter Samish
Music by: Dave Grusin
Distributed by: Columbia Pictures
Release Date: October 19, 1979

Saturday Night Fever (1977)

Saturday Night Fever (1977)

Taglines: Where do you go when the record is over.

Nineteen-year-old Brooklyn native Tony Manero lives for Saturday nights at the local disco, where he’s king of the club, thanks to his stylish moves on the dance floor. But outside of the club, things don’t look so rosy. At home, Tony fights constantly with his father and has to compete with his family’s starry-eyed view of his older brother, a priest. Nor can he find satisfaction at his dead-end job at a small paint store.

However, things begin to change when he spies Stephanie Mangano in the disco and starts training with her for the club’s dance competition. Stephanie dreams of the world beyond Brooklyn, and her plans to move to Manhattan just over the bridge soon change Tony’s life forever.

Saturday Night Fever is a 1977 American dance film directed by John Badham and starring John Travolta as Tony Manero, a young man whose weekends are spent visiting a local Brooklyn discotheque; Karen Lynn Gorney as Stephanie Mangano, his dance partner and eventual friend; and Donna Pescow as Annette, Tony’s former dance partner and would-be girlfriend. While in the disco, Tony is the king. His care-free youth and weekend dancing help him to temporarily forget the reality of his life: a dead-end job, clashes with his unsupportive and squabbling parents, racial tensions in the local community, and his associations with a gang of macho friends.

Saturday Night Fever (1977)

A huge commercial success, the film significantly helped to popularize disco music around the world and made Travolta, already well known from his role on TV’s Welcome Back, Kotter, a household name. The Saturday Night Fever soundtrack, featuring disco songs by the Bee Gees, is one of the best-selling soundtracks of all time.

The film is the first example of cross-media marketing, with the tie-in soundtrack’s single being used to help promote the film before its release and the film popularizing the entire soundtrack after its release. The film also showcased aspects of the music, the dancing, and the subculture surrounding the disco era: symphony-orchestrated melodies; haute couture styles of clothing; pre-AIDS sexual promiscuity; and graceful choreography.

The story is based upon a 1976 New York magazine article by British writer Nik Cohn, “Tribal Rites of the New Saturday Night”. In the mid-1990s, Cohn acknowledged that he fabricated the article.[4] A newcomer to the United States and a stranger to the disco lifestyle, Cohn was unable to make any sense of the subculture he had been assigned to write about; instead, the character who became Tony Manero was based on a Mod[5] acquaintance of Cohn’s. In 2010, Saturday Night Fever was deemed “culturally, historically, or aesthecially significant” by the Library of Congress and therefore preserved for all time in their National Film Registry. The sequel Staying Alive (1983) also starred John Travolta and was directed by Sylvester Stallone.

Saturday Night Fever Movie Poster (1977)

Saturday Night Fever (1977)

Directed by: John Badham
Starring: John Travolta, Karen Lynn Gorney, Barry Miller, Joseph Cali, Donna Pescow, Paul Pape, Julie Bovasso, Sam Coppola, Fran Drescher
Screenplay by: Norman Wexler
Production Design by: Charles Bailey
Cinematography by: Ralf D. Bode
Film Editing by: David Rawlins
Costume Design by: Patrizia von Brandenstein
Set Decoration by: George DeTitta Sr.
Music by: Barry Gibb, Maurice Gibb, Robin Gibb
Distributed by: Paramount Pictures
Release Date: December 14, 1977

The Day of the Jackal (1973)

The Day of the Jackal (1973)

In the Paris suburb of Petit-Clamart on 22 August 1962, an assassination attempt is made on the President of France General Charles de Gaulle by the militant French underground organisation OAS in anger over the French government granting independence to Algeria.

As the president’s motorcade passes, de Gaulle’s unarmoured Citroën DS car is raked with machine gun fire, but the entire entourage escapes without injury. Within six months, OAS leader Jean Bastien-Thiry and several other members of the plot are captured and Bastien-Thiry is executed.

The remaining OAS leaders, now exiled in Vienna, decide to make another attempt, and hire a professional British assassin (Edward Fox) who chooses the code name “Jackal”. Agreeing to the killer’s demand of half a million US dollars for his services, the OAS leaders order several bank robberies to raise the money.

Meanwhile, the Jackal begins to plan his assassination of the highly protected French president. He travels to Genoa and commissions a custom-made rifle and fake identity papers. As a professional, he spares the reliable gunsmith, but kills the forger when the man attempts blackmail. In Paris, he sneaks an impression of the key to a flat that overlooks the Place du 18 juin 1940.

In Rome, where the OAS team have moved, members of the French Action Service identify and kidnap the OAS chief clerk Viktor Wolenski (Jean Martin). Wolenski dies under interrogation but not before the agents have extracted some elements of the assassination plot, including the word “Jackal”, and reported their findings to the Interior Minister (Alan Badel) who convenes a secret cabinet meeting of the heads of the French security forces.

When asked to provide his best detective, the Police Commissioner Berthier (Timothy West) recommends his own deputy, Claude Lebel (Michel Lonsdale). Soon after, Lebel is given special emergency powers to conduct his investigation, which is complicated by de Gaulle’s express orders for secrecy and his refusal to change any of his planned public appearances.

As the investigation progresses, Colonel St. Clair (Barrie Ingham), a personal aide to the President and one of the cabinet members, discloses the government’s knowledge of the plot through pillow talk to his new mistress Denise (Olga Georges-Picot), who immediately passes this information on to her OAS contact. Meanwhile, Lebel uses an old boy network of police agencies in other countries to determine that British suspect Charles Calthrop may be travelling under the name Paul Oliver Duggan, who appears in British records as someone who died as a child. Learning that Duggan has crossed into France, Lebel orders his men to search all hotel registrations in an effort to locate the killer.

The Day of the Jackal is a 1973 Anglo-French political thriller film directed by Fred Zinnemann and starring Edward Fox and Michel Lonsdale. Based on the 1971 novel The Day of the Jackal by Frederick Forsyth, the film is about a professional assassin known only as the “Jackal” who is hired to assassinate French president Charles de Gaulle in the summer of 1963.

The Day of the Jackal received positive reviews and went on to win the BAFTA Award for Best Film Editing (Ralph Kemplen), five additional BAFTA Award nominations, two Golden Globe Award nominations, and one Academy Award nomination. The film grossed $16,056,255 at the box office,[3] and earned an additional $8,525,000 in North American rentals.

The Day of the Jackal Movie Poster (1973)

The Day of the Jackal (1973)

Directed by: Fred Zinnemann
Starring: Edward Fox, Terence Alexander, Michel Auclair, Alan Badel, Tony Britton, Cyril Cusack, Maurice Denham, Olga Georges-Picot
Screenplay by: Kenneth Ross
Cinematography by: Jean Tournier
Film Editing by: Ralph Kemplen
Costume Design by: Joan Bridge, Rosine Delamare, Elizabeth Haffenden
Distributed by: Universal Pictures
Release Date: May 16, 1973

The Go-Between (1971)

The Go-Between (1971)

Summer 1900: Queen Victoria’s last and the summer Leo turns 13. He’s the guest of Marcus, a wealthy classmate, at a grand home in rural Norfolk. Leo is befriended by Marian, Marcus’s twenty-something sister, a beauty about to be engaged to Hugh, a viscount and good fellow.

Marian buys Leo a forest-green suit, takes him on walks, and asks him to carry messages to and from their neighbor, Ted Burgess, a bit of a rake. Leo is soon dissembling, realizes he’s betraying Hugh, but continues as the go-between nonetheless, asking adults naive questions about the attractions of men and women. Can an affair between neighbors stay secret for long? And how does innocence end?

The Go-Between Movie Poster (1971)

The Go-Between (1971)

Directed by: Joseph Losey
Starring: Julie Christie, Alan Bates, Margaret Leighton, Michael Redgrave, Dominic Guard, Michael Gough, Amaryllis Garnett
Screenplay by: Harold Pinter
Cinematography by: Gerry Fisher
Film Editing by: Reginald Beck
Costume Design by: John Furniss
Art Direction by: Carmen Dillon
Music by: Michel Legrand
Distributed by: Columbia Pictures
Release Date: November 13, 1971

Le Boucher (1970)

Le Boucher (1970)

Hélène Daville (Stéphane Audran) is a confident, slightly naïve young teacher who is adored by her pupils at the school where she works and lives. She meets the local butcher, Paul Thomas, called “Popaul” (Jean Yanne), at a wedding ceremony, and they strike up a close but platonic relationship. The film examines how Hélène handles her suspicion of Popaul as a series of women in the small town fall victim to an unknown murderer.

Le Boucher (English: The Butcher) is a 1970 French thriller film written and directed by Claude Chabrol. The film had a total of 1,148,554 admissions in France.

Themes in the Film

Chabrol plays on conventionality, as it is represented in film. The distinctions between murderer and victim are at times blurred. The ideal small community that Chabrol establishes seems to mirror so many others and the characters he uses represent the eroding authenticity that is characteristic in films which seek to capture an “old world feel.” Popaul comes across as an innocent, laid-back, simple butcher, who mentions his experiences in Algeria and Indochina repeatedly.

Hélène is admired in the community for her selfless dedication to children — she forgoes a personal life for servitude. Chabrol hints that these characters are not as they seem. Repression and representation seem to be themes Chabrol works with in the film. In confronting repression and representation as Chabrol does, a character, who seems as altruistic as Hélène, takes on a new connotation. Little does Hélène realise that she is driving Popaul to these acts, leaving him stranded with his demons and self-disgust.

Even before he met Hélène, Popaul was tortured. Towards the end of the film, he delivers a soliloquy that allows the viewer to sympathize with him:

Le Boucher Movie Poster (1970)

Le Boucher (1970)

Directed by: Claude Chabrol
Starring: Stéphane Audran, Jean Yanne, Antonio Passalia, Pascal Ferone, Mario Beccara, William Guérault, Roger Rudel
Screenplay by: Claude Chabrol
Production Design by: Guy Littaye
Cinematography by: Jean Rabier
Film Editing by: Jacques Gaillard
Music by: Pierre Jansen
Distributed by: Cinerama Releasing Corporation
Release Date: February 27, 1970