Cinque giorni una estate

In general this last film of the director Fred Zinnemann has not met with much approval, and it is not difficult to see why. The plot is extremely simple, whatever tension is established towards the end is soon dissipated; and the emotional tensions between the leads are not fully resolved. The scenery is nice; the climbing scenes interesting or scary according to one's inclinations; but overall it is not surprising that some people have ended a viewing by saying 'Is that it?'

I still find it worth watching again after many years in the reissued Warner archive version, and not only for Betsy Brantley's big blue eyes - for example, there is a chance for Sean Connery to show more emotional range than usual in his roles, and the period detail has a good authentic feel of the 1930s.

This is a very fine movie. Maltin really misses it with his review. Fine acting by all of the major players. As at least one other reviewer pointed out, this is a finely crafted, minimalist production as far as the character dialogue. Zinnemann did a superb job of direction. The alpine scenes are exquisitely beautiful. The mountain climbing is realistically of the period (1932) and I found it to be completely engrossing.

The film is a morality play about the nature and reality of boundaries. And what type of tragedy can happen when one ignores boundaries. Beautifully done film. If you like real stories about real people you should love this film. If you're a special effects type of guy you might want to ignore it. Still, the cinemaphotography and mountain climbing scenes are worth a look--even for the most jaded modernist.

This solidly crafted film is set in 1932 , the story of a haunting and obsessive love story between a married Scottish doctor : Sean Connery and a young woman : Betsy Brantley who happens to be his niece , while they stay on vacation in the Swiss Alps and subsequent loving intervention by a good-looking mountain guide : Lambert Wilson . As the older , married doctor has to compete with a handsome young man for getting his intimate lover .

An interesting but slow-moving and predictable movie in which and elderly doctor has to vie for her love with their handsome young mountain climbing guide , being based on a story by Kay Boyle. A melodrama about a love affair in which there is romantic dialogue , emotion , gestures and nuances by employing a lush setting that overwhelms . It boasts a good cast giving fine interpretation , such as the veteran Sean Connery, the newcomer Betsy Brantley and the French Lambert Wilson , son of the great actor Georges Wilson . They are well accompanied by an attractive support cast providing brief but cool acting, such as : Gerard Buhr , Jennifer Hilary, Isabel Dean and Anna Massey .

It contains superb location with exquisite cinematography by Giuseppe Rotunno, adding dimension to the story, including remarkable mountain climbing footage . As well as a sensitive and moving musical score by the classic composer Elmer Bernstein. This was last movie to come from the distinguished Austrian-born filmmaker Fred Zinnemann , but being slow-going and a little bit boring . The film is well directed , though inferior than others Zinnemann movies . As Fred directed good flicks , such as : High Noon, The Seventh Cross , Act of violence , The Men, From here to Eternity, Oklahoma ! , The Search , The Nun's story , The Sundowners , A Man for all seasons , The Day of Jackal , Julia , among others . Rating : 6/10 . Well worth watching . The picture will appeal to Sean Connery fans . Essential and indispensable seeing for Fred Zinnemann completists .

I'm one of those who think this film is a neglected gem.

It has a number of twists but it is the interaction between the three leads that makes it so compelling. Without giving too much away, the story, which is set in 1932, is about a couple, Douglas Meredith (Sean Connery) and the much younger Kate Meredith (Betsy Brantley) who arrive at a Swiss chalet during the summer for some hiking and a little mountain climbing.

As the story unfolds we realise that although they introduce themselves as husband and wife, there is something difficult about the relationship. The whole thing comes to a head and decisions are forced when Kate attracts the attention of a young climbing guide played by Lambert Wilson.

This was Fred Zinneman's last film, but it has a different mood and pace than many of his films. It unfolds at not so much a leisured pace but a measured one, and there is plenty of tension throughout the story. It seems very much like a Merchant Ivory production. If you have seen films such as "Heat and Dust", "Howard's End" or "Remains of the Day", you'll know what I mean - although it was made a few years before any of those.

Apparently the film bombed when it was first released and the critics were less than impressed. Possibly that was partly because it was an unexpected entry from the man who had helmed films such as "From Here to Eternity", "High Noon" and "The Day of the Jackal", but I think they may also have been put off by the revelation about the Meredith's relationship.

Sean Connery plays a man with much on his mind with no small amount of guilt thrown in. He handles it with the same understatement that underpins the film. Surprisingly, Connery's natural power comes through more noticeably here than in many of his action roles.

With her rather unflattering 1930's fashions and bobbed hairstyle, Betsy Brantley at first seems unprepossessing as Kate but her openness and freshness soon makes believable the attention she receives from the males in the movie.

If you're tastes run to "Fast and Furious 4" then this probably isn't your movie, but if you are looking for a beautifully acted and photographed story with a touch of intrigue told in an unhurried manner, "Five Days in Summer" is worth seeking out.

A cinemagraphic masterpiece where all the relationships and tensions developed by the story (a tale of irrepressible love fulfilled, thwarted and betrayed) are conveyed in the exquisitely rendered images carrying the communications that you read as if they were a text; and with the verbal dialogue reduced to the barest minimum required.