Keith Carradine plays an independent director who has come to Cannes, hoping to sell hismovie (to which he has devoted two years of his life). French Customs seizes the film and won’tlet him bring it into the country. He is helped out by Monica Vitti, wife of a powerful Italianproducer. Before long Carradine and Vitti are in each other’s arms. While we are constantlyaware of Vitti’s guilt and worry about cheating on her husband, all references to Carradine’sgirlfriend back …n the States vanish after a brief moment of guilt, which doesn’t help in makinghim likeable. Of course, that is part of the film’s point, which is that he isn’t that likeable, moreconcerned as he is with his movie than with any human being. The romance itself isn’t alwaysthat interesting, but the zany hustle and bustle of Cannes is meticulously recreated, often to veryfunny effect.
The sound is mono, and gets the job done. The dialogue is clear, and there is no backgroundhiss. The opening music sounds very good by mono standards, but there is some annoying buzzduring a later, more brass-heaving piece at the climax.
The aspect is anamorphic widescreen, which is always good to see. The print in the first fewminutes is extremely dirty and grainy. Exterior day shots are plague by this problem off and onthroughout the film. The re are occasional speckles, and a brief bit of pixellation about 77minutes in. The colours struck me as a bit pale, but that may be deliberate.
The disc is minimalist, but the film is clever, and will have particular resonance for 70s filmbuffs.