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Strange enough, all the previous comments merely described the beginning and left the details over. I feel a necessity to confirm that this is a family work, since Marina Vlady was also Robert Hossein's wife, and the - excellent - jazz music was written by te director's father, André. Under these circumstances, no wonder it was a really good thriller, seen when issued and immediately identified with the music. The suspense was flawless, and maintained throughout until the end. Robert Hossein, at the time one of the best European players, managed to impose himself also as a top screen and stage director. He's still putting up great stage shows, with a preference for religious subjects.harry carasso, Paris, France

"Toi le Venin" is Robert Hossein's masterpiece,and one of the great thrillers of the fifties.Based on a Frederic Dard novel,a writer the director often worked with (see also "le Monte-Charge" which Hossein did not direct but in which he was the lead too),the screenplay grabs you from the first pictures on a desert road by night where a beautiful blonde might be the fieriest of the criminals to the mysterious house where he finds his femme fatale ..and her sister.Then begins a cat and mouse play .One of the sisters is in a wheelchair .But is she really disabled?Which one is the criminal who tried to kill the hero on that night?

The two actresses,Marina Vlady and the late Odile Versois were sisters.

Turn off all the lights before watching.Highly suspenseful.

More "Riviera noir" as Robert Hossein directs and stars in a suspenseful "romantic" thriller that predicts the dysfunctional family dynamics of Robert Aldrich's WHAT EVER HAPPENED TO BABY JANE? a half-decade later.

Canned TV personality Pierre Menda blew his last dime at the Nice casinos and hits the road on foot where he's offered a ride by a mysterious blonde in a white car and mink coat. He can't make out her face in the shadows but it doesn't matter once she pulls over and opens her coat to reveal that's all she's got on. They have sex and when it's over, she kicks him out of the car and tries to run him down but luckily Pierre manages to get the woman's license plate number before she speeds off into the night. This clue eventually leads him to a waterfront mansion where two blonde sisters live, one demure and the other vivacious despite being confined to a wheelchair. Neither one seems likely to be the wanton that raped him but curious nonetheless, he accepts their invitation to stay the night and it's not long before the sisters offer him a job, a place to live, and their love. Uh oh.

A throbbing jazz score and a bitterly ironic twist at the end top off what looks to be a reel family affair: director Hossein adapted his friend Frédéric Dard's pulp novel and co-starred with his wife, Marina Vlady, and sister-in-law Odile Versois. His father, André Hossein, composed the music.

A man looks for the nymphomaniac who nearly crushed him, one evening, on a road of Provence. "Night Is Not for Sleep", interpreted and realized by Robert Hossein, old friend of Frederic Dard in the city, an alarming suspense with Marina Vlady and Odile Versois. Panting psychological thriller, adapted by Frederic Dard's novel.

A gripping start (accurately described by the lurid English title - "Nude in a White Car") for an intriguing, unpretentious mystery: it introduces three characters, it makes clear that one of the two is lying, and it puts you in the place of the third, trying to figure out which one. In an inspired bit of casting, real-life sisters Odile Versois and Marina Vlady, who bear a striking resemblance to each other, are cast as (half) sisters in the movie as well, which produces a Hitchcockian "blurring the lines" effect. **1/2 out of 4.

WHEN I first saw this film, in London, in 1958, I was bowled over. I had never seen a film like this before. It had a strange, hypnotic effect, quite unlike the films that I had seen previously and it left a lasting impact.

I believe that Odile Versios & Marina Vlady are sisters, if not twins. Certainly the interaction is amazing in its power to influence the viewer.

If this has been converted to DVD - in Region 2 format - and in the original French language, I would love to hear about it & where it can be purchased.

This is much better than i expected. A very good mystery/drama movie which didn't had an open ending like so many mystery movies. On the contrary, every question here was answered. It kept me guessing until the end, and this is not something common for a 1958 movie, i mean, movies of this era were not so complicated and you can easily guess what is happening, especially if you have watched thousands of movies. I am not saying it is brilliant neither mindblowing. This is clever, not just enjoyable but exciting, nice music and cinematography, very good actors and most of all, these women are really beautiful :)

Easy to follow, not convoluted, kinda "light". I am so glad i found it.

There are no doubt Robert Hossein fans out there but I am not one of them. He was cast in a few of them that he directed, but in my opinion I think he was in better films not under his own direction. ' Crime et Chatiment comes to mind and ' Le Repos du Guerrier ' The latter with Brigitte Bardot also in one of her better films. Here he plays a man on the French Riviera who is seduced by a naked woman in a white car. She dumps him at gunpoint, then tries to run him over. He finds out where she is and meets her sister ( real in life as well ) and he tries to work out who seduced him and nearly ran him over. The ending was predictable. No spoilers. The film is worth seeing for Odile Versois, who had previously made several fine films in the UK. She acts well, and from my viewpoint she is the best reason to watch this would be film noir mush. It is static and boring, and the eroticism is fake and empty. I watched it through surprised that it had had both A and X certificates in the UK, all of them under its title of ' Toi le Venon ' ( not ny bad spelling but the censors ) and subsequently was called ' Night is Not for Sleep ' and finally ' Nude in a White Car ' with an X for adults only. One of the most confusing list of titles probably in film history.

Two sisters live in a lonely mansion by the sea. One of them (Marina Vlady) is confined to a wheelchair. One of them, unknown to the other, goes out at night to entertain random strangers in the front seat of their convertible. But which one?

The question acquires a fresh urgency when the latest "victim" (Robert Hossein) shows up on their doorstep. The sisters look so similar he can't decide which one he encountered the previous night. Neither seems the type. The sisters invite him to stay and an awkward ménage à trois develops - awkward because the unanswered question remains: which of the two is lying about her nocturnal excursions?

This is the premise, and it's a thin one, but Hossein (who also directs) does a great job with the material, keeping the suspense going till the final scene. The direction is sleek and stylish, Vlady (Hossein's wife at the time) is jaw droppingly gorgeous, and there's a nifty jazz score by André Hossein. Put your disbelief on hold and enjoy.

I first saw this film in 1959 at age 13 and it made quite an impression. The image of a blonde beauty, bare-breasted in a car in the shadows of the night, was simply too much and it stayed in my mind forever. At the advent of the home video industry, a re-encounter with the nasty little film seemed possible but I had to wait three decades for it to become true. I am happy to report that thanks to the Gaumont folks in France, "Toi, le venin" came out in style, a magnificent print in black & white, in Blu-ray no less. The edition includes an original trailer and an interview with Marina Vlady talking about her character in the movie. Often, films that impressed us when young are as huge disappointment when we see them as adults. Thankfully this is not the case with "Toi, le venin" since, apart from the bare-breasted blonde, it is a fine film that will maintain your attention from beginning to end. Don´t miss it! They don´t make movies like this anymore.

A man looks for the mysterious young lady who tried to crush him one evening

One night, while he promenades in the streets of Nice, Victor Menda is accosted by a fair young lady in the steering wheel of Cadillac. The attractive creature, whose face stays in the shadow, invites Victor to rise, give herself fervently to him then stick him the cannon of a revolver on the temple and order him to get off. While he goes away, she tries to crush him. Victor just escapes death. Furious, he has the reflex to note the number of the car. A fast inquiry leads him around a big house where live two very resembling sisters, both fair.