Eva (1962)
| Movie | |
|---|---|
| German title | Eve |
| Original title | Eve |
| Country of production |
France Italy |
| original language |
French Italian English |
| Publishing year | 1962 |
| length | 107 minutes |
| Age rating | FSK 18 |
| Rod | |
| Director | Joseph Losey |
| script |
Hugo Butler Evan Jones based on the novel of the same name (1945) by James Hadley Chase |
| production |
Raymond Hakim Robert Hakim Giorgio Baldi |
| music | Michel Legrand |
| camera | Gianni di Venanzo |
| cut |
Reginald Beck Franca Silvi |
| occupation | |
and in guest roles: Enrico Maria Salerno , Vittorio de Sica , Joseph Losey | |
Eva is a French-Italian Filmmelodram of 1962. Directed by Joseph Losey playing Jeanne Moreau and Stanley Baker , the lead roles.
action
Venice in the fall of 1961. The Welshman Tyvian Jones achieved some fame for an autobiographical novel about Welsh miners. The work, filmed by the Italian director Sergio Branco Malloni, is now to be presented in the lagoon city at the Biennale. The widely courted but not very sympathetic Jones is downright hyped for his literary achievements, and the beautiful production secretary Francesca Ferrara ensnares him. What nobody knows: Tyvian Jones did not write the work himself, it is the legacy of his deceased brother. In a bad mood and irritable, Jones keeps his admiring surroundings at a distance and does not explicitly accept Malloni's offer to fully finance his next literary work (which will also be filmed). The film becomes a huge hit and allows Jones to rent a luxury home in Venice.
When he meets a mysterious stranger named Eva, his life and behavior change completely. From the beginning, Jones is completely fascinated by this woman, who obviously shows no interest in him. Tyvian falls for Eva instantly, gets rid of her companion and approaches her, but she throws an ashtray at her head. Henceforth the rough Welshman lets himself be humiliated by her and is ready to financially endure this luxury-spoiled stranger, however much she may ask of him. Eva is unscrupulous and takes advantage of his bondage, throwing Tyvian's money out the window with full hands. One phone call is enough and Tyvian leaves everything, even friends and his girlfriend Francesca. Yes, Jones even confesses to her the literary fraud that earned him fame and money: namely, that he merely collected the records of his dead brother and published them under his own name. Meanwhile Eva has long been looking for other wealthy patrons. After an expensive weekend in Venice, Eva throws him out of the hotel room when he can't pay her enough. Tyvian eventually marries his fiancée Francesca.
But none of this is of any use, he remains hopelessly addicted to her. His newly wedded wife surprises him on another rendezvous with Eva and then commits suicide in a boat. Tyvian runs after her, but cannot stop her.
Tyvian secretly watches Eva in her house. Eventually he sneaks in with the intention of murdering Eva. But again he gives way to her erotic omnipotence over him, and she allows herself the pleasure of whipping him out of the house and calling him a failure.
Even two years after Francesca's death, he is after Eva. She meets with a new patron and is about to go on a cruise. Tyvian then wants to pick her up from the port. Eva gives him the cold shoulder and just says "If I come back".
Production notes
Eva was written in Venice in the winter of 1961/62 and was premiered in Paris on October 3, 1962. The Italian premiere took place ten days later. In Germany it was Eva first time on November 30, 1962 see in Austria on April 2 1,963th
The film structures were designed by Richard Macdonald and Luigi Scaccianoce , while Pasqualino de Santis was a simple cameraman under Gianni di Venanzo's chief camera. Henri Decae was also (unnamed) involved in the camera work. Carlo Savina took over the musical direction.
The costumes all came from Vera Marzot , only the costumes for Jeanne Moreau were designed by Pierre Cardin .
The German dubbed version was directed by Conrad von Molo based on a book by Beate von Molo.
Reviews
“Venice is the preferred setting for this fairy tale. And as recently with Käutner Signor Martelli , Gianni di Venanzo, Antonioni's deserving cameraman, is now in a painstakingly fashionably whitewashed lost position. The image, which does cool, is as overstrained as the understatement-conscious game of Moreau as Eva. One wonders what has driven the cinéast's secret tip Joseph Losey, who has so far held up with the critically ambitious tears (' The deadly trap ', ' The trail leads to nowhere '), to make this film. After all, Losey is no Vadim , and the Moreau shouldn't have to look at Asta Nielsen . "
Paimann's film lists summed up: “This mental dissection offers character complications and high eroticism; not without worrying idleness despite selected artists. In addition to visual decency, mental perversity, not just in the dialogues. "
“A film that works with an exaggerated artistic photography that presents its unspeakable story full of symbolism. Difficult to classify in Joseph Losey's oeuvre due to changes in the post-production phase. "
"Moreau is well cast as the personification of evil."
“Silly story about a femme fatale. Sometimes elegant Freudian moments, the film runs longer than is welcome. "
Individual evidence
- ↑ Eva in Paimann's film lists ( memento of the original from July 20, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Eva in the Lexicon of International Films
Web links
- Eva in the Internet Movie Database (English)
- extensive review in The New York Times