La signora dell'auto con gli occhiali e un fucile

Contrary to what some said here earlier, the novels by Sebastien Japrisot are gripping and full of atmosphere. There is no way that Dany Lang's trip to Marseille can be transferred to the States. If you didn't like the movie too much - like me - try to get a copy of the book, so you can enjoy the story fully. Japrisot's novels are usually characterized by a carefully constructed claustrophobic atmosphere and a precise resolution of all the details at the end. It may well be impossible to do them justice in movies that are less than four hours long.

Unrealistic? Probably, but I don't read a novel or watch a movie for a reality check - the News give me too much of that already. A difficult read it is, but so rewarding. By the same author: One Deadly Summer, Trap for Cinderella, The Sleeping Car Murders. To me, the Lady in the Car was the best.

The film could be described as 40% Alfred Hitchcock and 60% Raymond Chandler. It initially starts out as a very glossy chick-flick with our heroine Danielle Lang (Samantha Eggar) working as a PA in a chic Paris advertising agency for her dashing boss Oliver Reed. The Christian Dior dresses perfectly capture the glamour of very late 1960s Paris. I would have been happy enough with just that, but it gets darker and better as the movie progresses. Although Mademoiselle Lang plays the confused and helpless heroine for most (but not all) of the film, it does pass the Bechdel test. Samantha Eggars performance is first rate, but I have to say I think Stéphane Audran steals the show as Samantha Eggars former flatmate. However, as a long time Stéphane Audran fan I may be biased, and in fact that was the main reason I watched the film in the first place. Most of the supporting cast is very good also.

Where the film goes wrong is that it spends far too long on the 'mystery' aspect of the plot and when the 'reveal' happens it is too rushed. I think this may simply be bad editing since there are many many scenes in the 'reveal' sequence which are cut together in the space of a few minutes. Maybe if they'd been stretched out over 30 minutes it would have made everything feel more balanced. Particularly as the 'mystery' segment starts to drag toward the end.

It didn't help that I saw a really poor print of this. I would love to see the original, I'll bet the colours look sumptuous.

Some films ended up on my "must-see" list simply because they have exhilarating titles! I mean, who wouldn't want to see a movie named "Lady in the Car with Glasses and a Gun"? The fact it stars Oliver Reed (one of my favorite actors of all times), takes place in beautiful Southern France, and got released during the peak era of paranoid/giallo thriller gems are fantastic bonuses! I only have one slight regret, namely that I watched the film on a French television channel where it was shown in its original version, without subtitles. My French is pretty good, but the convoluted plot requires a lot of concentration and I may have missed one or two details during the fascinating climax sequence; - during the mandatory summary/explanation speech in which all the pieces of the puzzle are neatly put together.

Reed stars as a wealthy American businessman in Paris, who requests his secretary Danielle (Danni for her friends) to drive his fancy US-car back to his home after dropping him and his family off at the airport. Instead of doing this, Danni spontaneously decides to drive further South, to the Riviera, for the weekend. It doesn't turn into the careless trip she hoped for, though, as she gets attacked in a gas station, and people all along the route recognize her from recent previous encounters even though she never was there before. Or was she?

"Lady in the Car with Glasses and a Gun" is a compelling, albeit occasionally slow-paced, mystery with a good atmosphere, stellar performances, and a surefooted direction. My main complaint would be that the plot never reveals any clues or hints to invite the viewer to guess along about what could be the big surprise twist. I also haven't read the novel on which the film is based, so can't say if this differs in the screenplay. For fans of 70s Euro-cult, like myself, the film has a dream-cast, including the aforementioned Oliver Reed, but also Samantha Eggar ("The Brood", "Curtains") and Stéphane Audran ("Without Apparent Motive", "Spider's Labyrinth"). There's also a small role for Marcel Bozzuffi as the gas-station attendant. One year later, he would star in "The French Connection", and then continue to become a regular in Italian poliziotesschi-classics (like "Colt .38 Special Squad" and "Rome: the other Side of Violence").

Secretary at a Paris fashion agency borrows her boss's car for a weekend drive down the Mediterranean coast, but her lighthearted holiday is fraught with trouble after she continually runs into complete strangers who appear to know her. U.S.-French co-production adapted by Sébastien Japrisot from his novel, with assistance from director Anatole Litvak, is beautifully designed and mounted, with attractive photography by Claude Renoir in mod-popping shades. Samantha Eggar has never been better (nor lovelier) than she is here, confusedly finding herself in turbulent situations yet determined to figure out what's really going on. Japrisot and Litvak lay on the paranoia undercurrent fairly thickly, though they also play fair with the viewer and give us a journey well-wrought with engrossing entanglements. It's also one of the chicest mysteries to mark the end of the 1960s, with gorgeous locales, cars and costumes to hold the attention whenever the script gets too chatty. **1/2 from ****

Thrilling and suspenseful film about a woman must find out about a crime she is implicated , to prove her innocence and exposing the question about whether the starring is hysterically crazy or is being manipulated by others. An English secretary named Dany (Samantha Eggar) with an international advertising in Paris is asked by her Chief Michael Caldwell (Oliver Reed) to work overnight at his house . Next day , she agrees to see him off the airport with his wife (Stephane Audran) , then drive his car back to the house . But heading in the wrong direction she impulsively drives on towards the Riviera . Then a series of chance encounters with perfect strangers, who claim that they recognise her , begin to blemish her ideal weekend. Now, more than anything in the world, Dany wants to see the sea ; and she goes joyriding along the way but, a strange noise coming from the boot is a harbinger of bad luck. She visits a seaside town she swears she's never been to, but everyone knows her name. Is the lady in the car starting to lose her mind? .Soon, things go wrong and get serious. Her first mistake was getting into the car.

Intriguing if overelaborate thriller shot on the sun-kissed French outdoors , this is a fairly effective thriller that really keeps the audience guessing and in which our protagonist becomes involved in twisted incidents and nighymarish happenings . That include encounters with various strangers who apparently recognise her , assault in the restroom at a service station and interlude with an enigmatic hitchhiker and the discovery of a body in the trunk of the car . Then when a body turns up in the boot of the car, she is the lead suspect in a murder she knows nothing about . Is she going crazy?. It has a strong visual style, also very reminiscent of the Sixties . Echoes of Psyco proliferate including a visit to an old dark house , but the tortuous mystifications and ponderings wear out their welcome long before the final surprising explanations . Samantha Eggar gives a nice acting as a meekc, myopic, and sentimental secretary with an international advertising agency in Paris . And Oliver Reed is very adequate and so sinisterly smooth that you know he's up to no good . While Stephane Audran is fine as as the glacially neurotic wife and she makes one wonder wistfully as she equally played in her films with Claude Chabrol. They're well accompanied by a good support cast such as : John McEnery , Martine Kelly , Bernard Fresson and Marcel Bozzuffi . It had a France Belgium remake (2015) with same title directed by Joann Sfarr with Freya Mavor , Benjamin Biolay , Elio Germano , Stacy Martin.

The picture was professionally directed by Anatole Litvak , though some confusing , at times . Litvak was born in Ukraine and stayed in Germany working . Anatole moved to France and directed Mayerling with Charles Boyer , Danielle Darrieux . His first Hollywood movie was The Woman I Love 1937 , and made a wide variety of subjects , from sophisticated comedy as Tovarich 1937 to historical drama as Anastasia 1956 , romance as All this and Heaven Too 1940 , crime drama as Dr Clitterhouse with Edward G Robinson and Humphrey Bogart and two tough thrillers starring John Garfield : Castle on the Hudson 1940 and Out of the Fog 1941 . Having become an American citizen , Litvak enlisted in the US army and collaborated with William Wyler in "Why we fight" series of WWII documentaries. Arguably his best films were the Thriller " Sorry wrong the Number" and the splendid psychological drama "The Snake Pit" 1948 , Hollywood's first attempt to seriously examine the treatment of mental illness . Rating : 6.5/10 . Well worth watching . Essential and indispensable seeing for thriller/mystery enthusiasts.