George Knysh This was one of only two films that touched me to the deepest (the other was "A Summer place"). For years after I first saw it in 1965, this was my "all-time favourite". It was absolutely perfect in all respects: the cinematography, the incredibly moving Delerue score, the performances by Gozzi (better than her memorable "Sundays and Cybele" of three years previously), who subsequently all but disappeared from view, by Melvyn Douglas, Stockwell, and Ingmar Bergman regular Lindbloom, all of this blended together into such an emotionally satisfying package that even today I think back to it with trepidation (there's just so much one can take)... I really think there should be an Oscar category for "unaccountably neglected masterpieces". "Rapture" would get one hands down. If you have the chance to see it, just watch for the terrific contrasts between the moody seaside cliff and mansion scenes and the vulgar, brash, city noises. They are a splendid metaphor for what you get and what you long for. The experience will haunt you for always.

cferpic Magnificent performance by Patricia Gozzi, with the help of Dean Stockwell and Melvyn Douglas. Brilliant directing by John, Guillermin who admits that he never had to direct a more gifted actress (John Guillermin is also responsible for the discovery of Jessica Lange, introduced in King Kong) The film suffered of a black & white (inspired ) cinematography (by French cameraman Marcel Grigon) at a time when distributors would not accept to release a film other than in color,to fight the TV competition (1965).Patricia Gozzi is also great in GRABUGE another ill-starred production of Darry F.Zanuck that was a harbinger to the 68 riot in Paris.

kinolieber This film has been showing up lately on Fox Movie Channel. Catch it if you can or have a friend tape it for you. You'll never see another film like it. Delerue's music is probably the one element that makes the film unforgettable, but there's also the screenplay which could almost be a modern day greek tragedy about the torments of adolescence before and after sexual awakening; the central performances by 15 year old Patricia Gozzi, Hollywood veteran Melvyn Douglas, former child actor Dean Stockwell and Swedish Bergman star Gunnel Lindblom that keep the whole thing believable in spite of the overheated plot; the incredible cinematography whose fluidity and composition enhance every word and emotion; the sound design which, although almost entirely post synchronized, is done brilliantly and never feels canned or artificial. There is so much that's puzzling about the movie, one wonders if we'll ever know how it came to be made. The original treatment that it's based on is by Ennio Flaiano, Fellini's most frequent writing collaborator, but it's written by an Englishman, Stanley Mann. The director never made anything before or after that indicated he had the imagination or sensitivity to create something like it (yes this is the same John Guillerman that made Shaft in Africa and The Towering Inferno). It's shot on location and yet has the look of an A-list film shot on a sound stage. The cast includes two Americans, a Frenchwoman and a Swede, so it was probably dubbed into many languages for international distribution. Produced by 20th Century Fox, it couldn't be less American. Most puzzling of all: why has it never received the recognition it deserves?If anyone reading this has background information about its production, please contact me.

ddaanntt This is a film that I've seen twice, the last time in 1972, that has stuck with me all these years. Patricia Gozzi was so alluring and the score so haunting and beautiful...I remember waiting for the credits to role to see the name of this unknown actress and the composer. It's the first I'd heard of Georges Delarue and the first of many times I'd heard a mesmerizing score and later seen Delarue's name. I'd love to see this movie again.