Nachts fällt der Schleier

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.

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.

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.

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.

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.