The best Danièle Delorme’s movies

In a small French village, everything would be quiet if the local wildlife cop was not being ridiculed by a smart poacher.

Victor Hugo's monumental novel Les Miserables has been filmed so often that sometimes it's hard to tell one version from another. One of the best and most faithful adaptations is this 240-minute French production, starring Jean Gabin as the beleaguered Jean Valjean. Arrested for a petty crime, Valjean spends years 20 in the brutal French penal system. Even upon his release, his trail is dogged by relentless Inspector Javert (Bernard Blier). Valjean's efforts to create a new life for himself despite the omnipresence of Javert is meticulously detailed in this film, which utilizes several episodes from the Hugo original that had hitherto never been dramatized. Originally released as a single film, Les Miserables was usually offered as a two parter outside of France.

Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.

Witty narration follows the history of Versailles Palace; founded by Louis XIII, enlarged by autocratic Louis XIV, whose personal affairs and amours, and those of his two successors, are followed in more detail to the start of the Revolution, after which the story is brought rapidly up to date. A huge cast plays mainly historical persons who appear briefly.

A thief known as Simon the Swiss faces up and downs in his criminal profession.

The film covers a hundred years in the lives of the Ricordi family, the Milan publishing house of the title, and the various composers and other historic personalities, whose careers intersected with the growth of the Ricordi house. It beautifully draws the parallel between the great music of the composers, the historic and social upheavals of their times, as well as the "smaller stories" of the successive generations of Ricordi.

On an otherwise normal day, Étienne, a happily married man and a good father, sees something that stops him dead in his tracks: a gorgeous woman in a billowing red dress. Long after she has left his vision, her memory continues to haunt his mind. He falls instantly in love with her and tries everything to get to know her better. Helping Étienne snare his elusive lady in red are his three bumbling buddies, which all have secret affairs and/or cheat on their wives.

In a moment of madness a middle-aged, married and respectable pharmacist kills a young woman who is sun-bathing by a lake. Unable to take in what he has done, he flees from the scene of the crime and behaves as if nothing has happened. Eventually her boyfriend is charged with the crime and, in a strange twist of fate, the killer finds himself serving on the jury.

A subtitle warns, "beware of dark sunglasses." Anna and her lover, whose looks in bowler and bow tie are reminiscent of a young Buster Keaton, kiss chastely on a bridge overlooking the Seine. He dons sunglasses and waves as she runs down a stairway to the river's edge, then watches in horror as she's knocked flat and loaded into the back of a hearse. In vain, he gives chase. Disconsolate, he buys a large funeral wreath and a handkerchief from sympathetic vendors. He removes the glasses to wipe his eyes and realizes they are the cause of all his woe. He replays the farewell without the glasses.

The film is the immediate continuation of Un éléphant ça trompe énormément, released the previous year. Having fortuitously discovered a photograph in which Marthe embraces someone unknown, clothed with a chequed jacket, Étienne Dorsay becomes jealous, and imagines various stratagems to identify the lover. In the meantime, Étienne and his friends acquire a weekend house for a very low price. As in the previous work, the film is largely narrated by the character Étienne, whose tone shifts with the reality of the images. The film contains a certain number of allusions to the films of Blake Edwards (the Pink Panther series).

In Les Halles, in the heart of Paris, the restaurateur André Chatelin (Jean Gabin), leads an uneventful life until the arrival from Marseille of Catherine (Danièle Delorme), the daughter of his ex-wife Gabrielle (Lucienne Bogaert). She tells him her mother is dead and that she is without resources. Chatelin welcomes her under his roof - then marries her. Gérard (Gérard Blain), a young student that Chatelin looks upon as a son, becomes Catherine's lover, and she sets him at odds with Chatelin. She asks him to kill the restaurateur. He refuses. She kills him. Having discovered that Gabrielle is still alive, declined and drug addicted, Chatelin realises the darkness of Catherine's soul who has always lied to him.

The scene is a tawdry hotel room in Limbo, where several damned souls are gathered. At first, the group fails to comprehend where they are or why they're there. When the horrible truth dawns upon them, they carp and snipe at one another, blaming everyone but themselves for their dismal fate.

Gilberte is a sixteen year old girl raised by her aunt and grandmother to be a demimondaine. But she's not ready for that yet, and spends her days in lessons and in teasing Mamita's old friend, the rich playboy Gaston LaChaille, and following his affairs from afar. But when Gaston throws off his latest mistress, it looks as if Gigi just might be ready to begin her destined career.