VALUTAZIONE IMDb
6,6/10
4293
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaTwo young English women go on a cycling tour of the French countryside. When one of them goes missing, the other begins to search for her. But who can she trust?Two young English women go on a cycling tour of the French countryside. When one of them goes missing, the other begins to search for her. But who can she trust?Two young English women go on a cycling tour of the French countryside. When one of them goes missing, the other begins to search for her. But who can she trust?
Hana Maria Pravda
- Madame Lassal
- (as Hana-Maria Pravda)
André Maranne
- Radio DJ
- (voce)
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizJohn Carson was originally cast as the police gendarme, but had to withdraw from the movie owing to his inability to drive a motorcycle.
- Blooper(at around the 8 minute mark) When the man is watching the two girls cycling past him on the road, the camera and camera operator can clearly be seen reflected in his sunglasses.
- ConnessioniReferenced in End Roll (2012)
Recensione in evidenza
Writers Brian Clemens & Terry Nation and director Robert Fuest prove that this kind of movie need not take place at night in order to be scary. This is about as good as a daytime suspense flick could be.
Pamela Franklin and Michele Dotrice play young nurses on vacation in France who are riding their bicycles through the country. Things go very bad when, after a fight, Franklin pedals off and leaves Dotrice on her own, after which Dotrice disappears from sight. A stranger (Sandor Eles) offers to help Franklin, but she'll have her doubts about him, just as she will about most other characters.
It's a bold move for the filmmakers to have no subtitles for the French dialogue, and it works in important ways: it stresses Franklin's vulnerability and frustration, and ensures that we in the audience are *not* two steps ahead of her the entire time. The desolate rural locations, while beautiful in their way, also help to create that sense of helplessness. There are long distances between towns, and the fields seem to go on forever. Laurie Johnson's music is used sparingly, and other than a bouncy main title theme that doesn't seem appropriate for a film of this type, it helps to set the mood. That said, Fuest, Clemens, and company know when the movie is in no need for music, as a key suspense sequence takes place largely in silence.
The tension here is palpable; in fact, after something of a slow start, things just get creepier and creepier and poor Franklin, who's absolutely winning in the role of the desperate young protagonist, comes to feel that she may not be able to trust anyone. One particularly great moment has Franklin conversing with a roadside café proprietress (Hana Maria Pravda), who manages to find the two correct English words for what she means to say, "bad road", and when she utters these words it sends chills up the spine; we then know that this area is fraught with danger. We find out that there'd already been a murder some years ago.
Good supporting performances by John Nettleton as the Gendarme, Clare Kelly as the schoolmistress, and Pravda greatly aid in the telling of this story, which delivers a nail biting climax and which in the end has a cyclical quality. It's good stuff, and worthy of discovery or rediscovery.
Seven out of 10.
Pamela Franklin and Michele Dotrice play young nurses on vacation in France who are riding their bicycles through the country. Things go very bad when, after a fight, Franklin pedals off and leaves Dotrice on her own, after which Dotrice disappears from sight. A stranger (Sandor Eles) offers to help Franklin, but she'll have her doubts about him, just as she will about most other characters.
It's a bold move for the filmmakers to have no subtitles for the French dialogue, and it works in important ways: it stresses Franklin's vulnerability and frustration, and ensures that we in the audience are *not* two steps ahead of her the entire time. The desolate rural locations, while beautiful in their way, also help to create that sense of helplessness. There are long distances between towns, and the fields seem to go on forever. Laurie Johnson's music is used sparingly, and other than a bouncy main title theme that doesn't seem appropriate for a film of this type, it helps to set the mood. That said, Fuest, Clemens, and company know when the movie is in no need for music, as a key suspense sequence takes place largely in silence.
The tension here is palpable; in fact, after something of a slow start, things just get creepier and creepier and poor Franklin, who's absolutely winning in the role of the desperate young protagonist, comes to feel that she may not be able to trust anyone. One particularly great moment has Franklin conversing with a roadside café proprietress (Hana Maria Pravda), who manages to find the two correct English words for what she means to say, "bad road", and when she utters these words it sends chills up the spine; we then know that this area is fraught with danger. We find out that there'd already been a murder some years ago.
Good supporting performances by John Nettleton as the Gendarme, Clare Kelly as the schoolmistress, and Pravda greatly aid in the telling of this story, which delivers a nail biting climax and which in the end has a cyclical quality. It's good stuff, and worthy of discovery or rediscovery.
Seven out of 10.
- Hey_Sweden
- 24 lug 2012
- Permalink
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Dettagli
- Data di uscita
- Paesi di origine
- Lingue
- Celebre anche come
- The Monster of the Country Road
- Luoghi delle riprese
- Jargeau in Loiret, Francia(Reel Streets)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 260.000 £ (previsto)
- Tempo di esecuzione1 ora 39 minuti
- Colore
- Proporzioni
- 1.85 : 1
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