Os sete Pecados Capitais

Entertaining film-á-sketch by different directors illustrating the seven more-fun-than-deadly sins in modern contexts. In turns glib, ironic, farcical, wry, witty, stylish, sexy and sophisticated, they're all watchable. In fact, even the least of them - it's difficult to say which that is - is downright impressive and full of good things - interesting simply for being French. Some are straightforward tales, others run like mini-features leaving you wanting more.

Sylvain Dhomme and Eugene Ionesco start off with a surreal account of Anger in which a fly in the soup leads to the end of the world. Edouard Molinaro delivers a chic, languid story of a maid and a movie star in Envy that may be the finest of all. Philippe de Broca's tale of Gluttony is a gently Tatiesque farcical interlude. Popular winner though, and most amusing on the whole, has to be Godard's piece on Sloth - filmed with the same panache as Breathless, it has Eddie Constantine wearily playing himself getting picked up by a chick and taken home; she's soon walking around in the buff but he's too lazy (or depressed, or cool) to get undressed. Lust, by Jacques Demy (doing Truffaut/Doinel) has Jean-Louis Trintignant and friend imagining scenes from Bosch in a café. Lots of nudity here. Roger Vadim does a classy piece on two-way adultery in Pride, dripping with sophisticated images. In Chabrol's lengthier effort to finish off (Avarice), a prostitute oversells herself to a bunch of soldiers and so becomes the prize in their lottery - a good mix of style, smut and comedy.

Quality ideas and film-making, most of it beautifully shot. Not greatness, just all-round artistry.

The seven deadly sins are divided into seven segments as follows: 1) Anger: (Director: Sylvain Dhomme) In a gentle French town, several men find flies in their Sunday soups. They have arguments with their wives, that grows successively to the streets, country and world. Very silly. (4) 2) Gluttony: (Director: Philippe de Broca) A family arrives late for the buffet of the funeral of the father of the patriarch. Very weak. (3) 3) Envy: (Director: Édouard Molinaro) The maid Rosette is envious of a movie star that is lodged in the hotel she works. Rosette seduces her lover and later she returns to the hotel as a client. Reasonable. (6) 4) Lust: (Director: Jacques Demy) Two friends discuss the meaning of lust. One of them recalls that when he was a child, he misunderstood the meaning of lust with luxury. Funny to see a boy smoking cigarette. Reasonable. (6) 5) Sloth: (Director: Jean-Luc Godard) An aspirant actress asks for a ride to the actor Eddie Constantine with the clear intention to seduce him. They go to his apartment, but Eddie is so lazy that does not have sex with her to avoid having to dress again. Very funny. (7) 6) Pride: (Director: Roger Vadim) One unfaithful couple cheats each other. The businesswoman has a love affair with a man that asks her to travel to Paris with him and get married when she gets the divorce. Her husband is a salesman that cheats her with her friend Heloise. Great short film. (8) 7) Greed: (Director: Claude Chabrol) Seven university students want to have sex with an expensive prostitute that charges 50,000 francs to spend a night with the client. They decide to make a lottery with 25 students giving 2,000 francs each. On the next morning, the prostitute asks the winner how he got money to be with her, and he tells about the lottery. She says that she will return his money but greed wins. The best. (8) My vote is six.

Title (Brazil): "Os Sete Pecados Capitais" ("The Seven Deadly Sins")

I saw this after Godard's "Breathless" & Truffaut's "400 Blows" and I found this the nicest of the three. I was immediately caught up in the surreal "Anger" and never felt let down by any of the "sins" that followed. The narratives are fine, the acting humane, and the directing lovely.

7 Sins, 7 episodes: the first 2 (Anger, Envy) are incredibly bad (and incoherent), and make you worry that you're in for a disaster of epic proportions. The next 3 are more tolerable: Gluttony (too broadly played), Lechery (most notable for two visionary sequences of Hell), Sloth (deadpan and sluggish). Finally we get 2 legitimately amusing (though nothing more) episodes with Pride (starring gorgeous Marina Vlady) and Greed (which also contains the film's most winning performance, by Danièle Barraud, whose only film appearance this is). Overall, the 1952 collective effort on the same subject is better. ** out of 4.

This is a pretty mediocre film made up of sketches.Julien Duvivier did a lot better with "le diable et les dix commandements" ,and he did all the segments single-handedly .

Only Godard snubs can enjoy the sloth sketch which is a saddening bore,with Eddie Constantine,an actor who made duds by the dozen.The anger sketch recalls the silent movies era,that is to say it's modern! Philippe De Broca's part is vulgarity itself,which is amazing,coming from a director known for his elegance.There's nothing to expect from Roger Vadim ,whose movies have not worn well,it's the least we can say.

Edouard MOlinaro will be dismissed by the "connoisseurs" ,just because he's not part of the new wave;however his sketch is not that much bad.But the two best segments are Chabrol's and DEmy's .

Demy's "lust" ,abetted by two peerless thespians,Laurent Terzieff and Jean-Louis Trintignant ,blends present and past when the latter,still a young kid,didn't know what "lust" meant.This is the most daring sketch,even featuring furtive nudities.

Chabrol's segment ends up the movie on an unpretentious welcome note .The "polytechniciens" putting their problem -how can we sleep with the de luxe prostitute?- in equation is one of the funniest moment of the whole movie.

Two sketches and a half:you make it on the percentages but lose out on the bonuses.So why don't you try Duvivier's "le diable et les dix commandements" instead?No ,Duvivier is no part of the new wave.It's not a crime,is it?