La dame dans l'auto avec des lunettes et un fusil

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.

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.

Samantha Eggar goes to employer Oliver Reed's home to do some work before he flies off with his wife, Stephane Audran, for a vacation. She drops the couple off at the airport, with instructions to drive the big Mercury convertible back to the office. But she has never handled a car like this, and takes a wrong turn. She finds herself traveling south, and decides to travel down to the Cote D'Azur. But odd things keep happening, like John McEnery, who plops himself into her car and charms her into sleeping with her, all the people who insist that she's been been there the day before, traveling to Paris. When a corpse turns up suddenly in the trunk with a rifle, things shift from bizarre to deadly.

Anatole Litvak's last movie is a stylish thriller, well served by the cast and with lots of shots to show off the scenery thanks to DP Claude Renoir. The long monologue that explains what was going on is, I suppose, a necessity, if a trifle long-winded. It's a good ending to a long career for Litvak, who studied theater in his native Ukraine ad Russia, made films in Germany, France, and America, and died in 1974 at the age of 72.

This is okay and Samantha Eggar very good but is just not sinister enough. My print was not a very good one which didn't help but I didn't feel particularly engaged early on and although for me it brightened up when John McEnry comes in, his character is too enigmatic to seriously help one's involvement in trying to work out just what the story is. The final denouement and cumbersome and involved flashback details as outlined by Oliver Reed did not annoy me as it has some (I've watched many a giallo where the 'explanation' is more ludicrous than the earlier tale) indeed it struck me as more interesting. There just wasn't enough actually happening in the bulk of the film for one to get one's teeth into. I suppose in some giallo these gaps would be filled with rising bosoms and falling dresses but here alas were left with the best of efforts by Ms Eggar, not particularly well dressed at all.

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.