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Cul-de-sac [1966] Roman Polanski

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Cul-de-sac [1966] Roman Polanski

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Name:Cul-de-sac [1966] Roman Polanski

Infohash: 6517EFA59A848F67C8AAF154089C18D4EA695E4A

Total Size: 674.15 MB

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Stream: Watch Full Movie @ Movie4u

Last Updated: 2024-04-04 04:04:41 (Update Now)

Torrent added: 2011-01-07 23:36:18






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Subtitles (Size: 674.15 MB) (Files: 15)

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  Cul de sac - Roman Polanski.ESP.srt

72.65 KB

  Cul de sac - Roman Polanski.FRA.srt

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  Cul de sac - Roman Polanski.ITA.srt

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  Cul de sac - Roman Polanski.POR.srt

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 Cds400x300.jpg

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 cul de sac german.jpg

39.07 KB

 cul de sac2.jpg

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 cul de sac3.jpg

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 Cul-de-sac.1966.avi

673.21 MB

 cul-de-sac.txt

11.10 KB

 Cul_de_sac-359971012-large.jpg

55.83 KB

 DVD_545_CulDeSacCallejonSinSalida.jpg

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 poland1big.jpg

43.59 KB

 wenn_katelbach_kommt.jpg

65.76 KB

 wenn_katelbach_kommt_2.jpg

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Cul-de-sac (1966)

http://www.imdb.com/title/tt0060268/

ENGLISH LANGUAGE WITH MULTIPLE FOREIGN LANGUAGE SUBTITILES IN SEPARATE FOLDER

Cul-de-sac is a 1966 British psychological thriller directed by the Franco-Polish director Roman Polanski. It was Polanski\'s second film in English, written by himself and Gérard Brach. Produced by Gene Gutowski.

The cast includes Donald Pleasence, Françoise Dorléac, Lionel Stander, Jack MacGowran, Iain Quarrier, Geoffrey Sumner, Renee Houston, William Franklyn, Trevor Delaney, Marie Kean and Mariloup Wolfe. It also features Jacqueline Bisset in a small role, in her second film appearance. The black and white cinematography is by Gil Taylor.

Donald Pleasence ... George
Françoise Dorléac ... Teresa
Lionel Stander ... Richard
Jack MacGowran ... Albie
Iain Quarrier ... Christopher
Geoffrey Sumner ... Christopher\'s Father
Renee Houston ... Christopher\'s Mother
Robert Dorning ... Philip Fairweather
Marie Kean ... Marion Fairweather
William Franklyn ... Cecil
Jacqueline Bisset ... Jacqueline (as Jackie Bisset)
Trevor Delaney ... Nicholas

George (Donald Pleasence) is a businessman who has left his old life behind to marry Teresa (Francoise Dorleac), a young French woman, and live in an old Northumberland castle by the sea. But one night he is interrupted by two fugitive gangsters (Lionel Stander and Jack MacGowran), which sets his life on a course of self destruction...

Cul-De-Sac was Roman Polanski\'s second British film after Repulsion, and was scripted by Polanski and Gerard Brach. It\'s an oddball black comedy with a stormy relationship triangle at its heart: George and Teresa are bullied by Dickie (Stander) and George is taken advantage of by Teresa, but the pressure of George\'s constantly demeaning situation (whether it\'s being beaten by Dickie, cuckolded by Teresa or simply showing off with eggs only to accidentally break them) finally makes him stand up for himself.

The characters inhabit a spiteful universe, and this leads to odd moments: George creeps downstairs to confront an intruder, nervously calls out, \"Anybody there?\" only to have Dickie cheerfully shout back, \"Yes - me!\"; fatally wounded Albie mistakes George for his wife; Dickie fires his gun in frustration at a passing plane; Dickie forces George to shave him rather than use an electric razor because he has \"sensitive skin\".

This (semi-improvised) comedy would come across as an actor\'s workshop if it weren\'t for the excellent performances of Stander and Pleasence, and to some extent, the selfish, petulant portrayal from Dorleac. Although certain scenes have a definite tendency to ramble on, the banter between whiny George and tough yet sentimental Dickie can make you laugh out loud as they get one up on each other.

None of the characters are particularly sympathetic, in fact only Dickie shows any compassion (when faced with his dying partner in crime). George might start to win your respect as he begins to assert himself when his ghastly friends arrive unexpectedly, but by the end of the film he is completely humiliated once more, having pretty much lost everything - and he knows it. Is that funny? Well, sense of humour is a very personal thing...

Like his previous film Repulsion, it explores themes of horror, frustrated sexuality and alienation, which have become characteristic of most of Polanski\'s films, notably Rosemary\'s Baby and The Tenant.

Cul-de-Sac has been compared in tone and theme with the works of Harold Pinter and Samuel Beckett; Jack MacGowran was renowned for his stage performances of Beckett\'s plays. The film\'s German title is Wenn Katelbach kommt (If Katelbach Comes).

When originally picked-up for American distribution by Filmways, Cul-de-Sac carried the advertising tagline, Sometimes There’s Nothing Left To Do But Laugh!, which really is an apt warning for anyone venturing to watch this vicious comedic gem. Polanski’s comedy is of the gnashing of the teeth variety and derives most of its devilish humour from the physical and psychological abuse that the characters inflict on one another. Most of the time the recipient of this abuse is George, played by Donald Pleasence in a repugnantly brilliant performance. Whether he is being forced to cross-dress or being buried alive alongside a corpse, George offers little resistance and keeps returning for an additional helping. His desperate need for love and acceptance from his victimisers, Dickie and Teresa, has trapped him in an emotional cul-de-sac from which he cannot escape.

Although the film was generally well received in Europe and awarded the prestigious Golden Bear at the Berlin Film Festival, Cul-de-Sac fell victim to a hostile American press when it opened in New York on November 7, 1966. They found the black comedy an odious freak show that would only entertain those who can laugh while fighting off nausea and/or sheer amazement at the prodigious waste of talent on tripe. The critical backlash against Cul-de-Sac greatly contributed to the abrupt closing of the film’s New York engagement after a few days, a move that was criticised by both Hollis Alpert of Saturday Review and Andrew Sarris of The Village Voice. Sarris saw the cancellation as a key example of the challenges facing that era’s art-house film market:

If audiences can be kept away from [Polanski\'s] very original work, we should all stop babbling about the future of young film-makers. There is no future, and there is no audience… If films like Masculine Feminine, Cul-de-Sac, and Fahrenheit 451 can be driven off the screen by two or three daily reviewers, perhaps by no more than one, where is the market for so-called personal, poetic cinema?

While there still remains a market for personal, poetic cinema, Polanski never has found many takers in the United States for his unique brand of comedic cruelty – illustrated by the subsequent critical drubbing that befell the similarly themed What? (1973), The Tenant, and Bitter Moon. In retrospect, this is likely because Polanski dares his audience to laugh at the most sadistic forms of behaviour. As Ivan Butler explains, Polanski often invites our laughter, and then causes us to wonder uncomfortably whether we ought not to be looking a little more closely at ourselves. For most this challenge is too formidable, but remember it is an acquired taste.

Cul-de-sac is Roman Polanski’s most existential film. Its bored alienated characters dread the impending doom they seem to bring onto themselves. Polanski’s previous film Repulsion was more or less as bleak and hopeless, but it was received far more positively by audiences and critics, probably because they knew what to make of it. Repulsion greatly transcended the horror tale Polanski was paid to deliver while still being recognizable enough as a genre entry to be accepted by a wide audience. Cul-de-sac is arguably Polanski’s most challenging movie because it’s such an odd mix of comedy, drama, thriller, suspense, and horror. Its primary tactic seems to be draining the signature elements of each genre, and thus the film is generally inert as everything slowly boils beneath the surface. It’s closest to black comedy, but most of the potential the laughs, come from the characters refusing to address the situation and generally hoping it will simply correct itself even though they obviously know it’ll never happen. The audience is not only never instructed whether to join the fun or recoil, chuckle or be repulsed, but Polanski seems to dare us to laugh at shootings, a burial, and all sorts of humiliations so we’ll see ourselves for the self-satisfying hypocrites we are. Regardless of the style of film he’s making, to Roman Polanski life is always a cruel comedy.

As in Polanski’s debut masterpiece Knife in the Water, the couple’s seemingly idyllic relationship is, in fact, incredibly precarious. Their isolation forms the bulk of the thread that’s holding them together, with the presence of the male interloper creating a dynamic that threatens the husband and sets off a series of power games.

Effete George isn’t man enough to please his free spirited, bohemian, control-obsessed wife Teresa (Francoise Dorleac, the better looking older sister of Catherine Deneuve). As power theoretically lies in masculinity, Teresa deprives George of his bit by bit so she’ll be in full control. Their marriage is such that Teresa orders George to go fly a kite so she can have sex on the beach with their studly neighbor Christopher (Iain Quarrier).

George is a desperate man who believes he can only attain what he seeks through pleasing others, satisfying them through compliance. He’s mad about his wife, and wants her love in the worst way, delusionally trying to convince himself their love is still strong despite her unfaithfulness. George is only capable of coming back for more; it’s the only way he knows to win people over, employing this hopeless tactic even on Dickie, who despises his easy lifestyle and is glad to have a whipping boy to take out the frustrations of his boss indifference on.

George is often described as a cross-dresser, but similar to Emmanuelle Seigner & Peter Coyote in Bitter Moon, the marriage’s remaining bond lies in the willingness of victimhood. There’s no alternating here, George simply allows his dominant wife to humiliate him through emasculation, which can include wearing her nightie and mask. Dickie’s arrival disrupts their tired pattern, as Teresa suddenly wishes George were man enough to rid the island of the burly gravel-voiced brute, thus her taunts shift from further feminizing him to pointing out what a wimp he is.

Hardly as simplistic as bored bourgeois vs. blundering icy savage, George & Teresa are too badly matched and already too far gone to bond against the intruding gangster. Teresa excels at playing the condescending tough wild child, but she knows she can’t get rid of Dickie as long as her willless cuckold continues to cower in the face of the heavy. One aspect that makes Polanski exciting is he’s willing to go against the traditional plot point of the woman always sticking up for her man whether he deserves it or not and make films like Cul-de-sac and Knife in the Water where the wife is so indifferent to the man she’s stuck with she doesn’t much care which man winds up taking the other out. Obviously we’d rather feel as though we could count on our spouse, but it makes for a tenser more unpredictable film when we have serious questions as to how they’ll react. Teresa has no qualms about putting George in harms way, pulling stunts such as giving sleeping Dickie a hot foot.

Polanski identifies with self-loathing George, but this isn’t the usual tale of him hulking up, reasserting his masculinity, and overcome the odds by defeating the big bully. Some of that may be involved, but the focus is on the world colluding to drive George insane. He seems to act more like a normal man once his ulcer-ridden stomach is forced to allow some moonshine to eat away at it. But that only exemplifies the bizarre humor of Cul-de-sac, a film where the main character is so far gone a drug has the reverse effect, bringing him back “inside the box”.


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