Synopsis
The Hottest Exposure Since Man Created Film!
Ursula finishes her studies and returns to her aunt Florentine and uncle, Ribera who is the count. She falls in love with Lambert, the killer of her uncle.
The Night Heaven Fell
1958 ‘Les bijoutiers du clair de lune’ Directed by Roger Vadim
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Compagnia Edizioni Internazionali Artistiche Distribuzione (CEIAD) Iéna Productions Union Cinématographique Lyonnaise (UCIL)
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Alternative Title
Heaven Fell That Night
Popular reviews
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of the vadim/bardot collabs i’d only seen AND GOD CREATED WOMAN before this and once again this feels like vadim was too enamored with bardot’s sex symbol status that he made a movie exploiting that part of her (she pouts and flirtatiously strips down) without any real emotional anchor. of course, it’s not without charisma because of her screen presence, but she becomes frustratingly subservient (except when she fights for her adorable pet pig’s life!). i love a lovers on the run genre but not when i’m unconvinced the whole time.
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Much of Roger Vadim’s early directorial efforts seem to be him flexing that he was married to Brigitte Bardot. As a result, one is often left with a few prevailing thoughts: Bardot was hot, Vadim was weird, and his work was very horny. The camera acts like a dog in heat for the entire 91 minutes of this, ogling Bardot at every turn, stripping her down, exposing her back, and going so far as to have frontal nudity as she lays down with Lambert (Stephen Boyd) in the desert. Men can hardly help but take a look at her while men like Lambert ditch their current lovers in favor of a chance at being with young Ursula…
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"Sinning when you have a notion of evil isn't too bad. You can mend your ways. What's important is never losing the notion of evil."
Roger Vadim and Brigitte Bardot raise a little more hell with a film about a young woman who runs off with the guy who had an affair with her aunt and killed her child rapist uncle. It's a bit melodramatic and not as sordid as my description would lead one to believe, but there's still a lot to chew on if the mood suits.
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Uma jovem mulher chega de trem numa estação quando é esperada por um motorista particular num carro conversível. Fala de amor e paixão em circunstâncias e com pessoas complicadas. Mostra uma bonita fotografia do interior da Espanha, assim como algumas tradições e uma bonita Bardot.
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Es toda ella de un tonto que me ha acabado atrapando.
Empezando por ese apunte de ciencia ficción de convertir a Stephen Boys en objeto de deseo de dos pedazos de mujeres como Brigitte Bardot y Alida Valli (por un Jorge Mistral se entendería todo amor fou y pasión destructora, pero por éste...). Diálogos imposibles, esa España negra, tullida, fea, inculta y salvaje, BB toreando, Fernando Rey dando un paseo sin mucho que hacer y esas dos palabras mágicas que son Cinemascope y Eastmancolor.
Dadme más cine así.
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One of Roger Vadim’s vanity projects, a chance to take some pretty shots of the rustic villages on the Spanish coastline and, of course, embellish the mise-en-scene with Brigitte Bardot in various states of undress. It’s a lovers-on-the-lam film, though not a particularly interesting one. And God Created Woman remains the must-see Vadim/Bardot collaboration. Anyway, there’s a murder going on in the story, but nobody really gives a shit about that. All eyes are on Bardot as she seduces the camera at opportune times. She fights a bull, by the way, which is dumb yet kinky, like much of this movie.