I can tell why Delon and Fonda were the wet dreams of the previous generation but nobody ever mention Lola Albright to me. She is exquisite, she exudes an European kind of thing and yet she's totally American. A cross between Doris Day and Ava Gardner. The film is a delight. A sexy thriller soaking in a sticky, tingly atmosphere. I've seen the English and the original French version. Go for the French, the adaptation of the dialogue in English is silly and pretentious. Although I don't like the idea of remakes this is one lends itself beautifully for a juicy rehash. I have a brilliant idea about how to update it, not to mention, how to cast it and as far as a director is concerned, I know the perfect one. I, of course, don't intend to reveal a thing here, you may steal the idea and strike a deal with Miramax.
29 Reviews
Jane, Alain and Lola
jpm-onfocus14 September 2016
A story of twists and turns with a sticky sexual link. Jane Fonda and Alain Delon are reason enough to enjoy this French noir but there is more. Lola Albright for instance. Wow! She's a retro futuristic femme fatale. Then Rene Clement, the director of "Purple Noon" knows how to keep us on the edge of our seats without sacrificing that elegant center that makes the whole think work beautifully. "Joy House" was made a few short years after Delon starred in Luchino Visconti's "Rocco And His Brothers" This were Delon's superstar years and he uses the power of his stardom to confuse us and tease us to death. I'm not going to spoil it for you so I don't intend to reveal it but it has one of those endings that's not just fun and clever but totally unexpected. A very enjoyable semi-precious gem.
Romantic and suspenseful triangle between Delon , Albright and Fonda
ma-cortes17 July 2009
A French playboy named Marc(Alain Delon) seduces the spouse of an American gangster who sends his hoodlums after him . Marc on the run from the mobsters terminates on the French Riviera . He hides out by becoming the chauffeur to rich heir named Barbara(Lola Albright) at the Ghotic château that is also where he knows her niece(Jane Fonda)working as servant and continuously tries to seduce him. Meanwhile the goons have got his whereabout.
This intriguing film also titled¨ The love cage¨ contains suspense, noir drama, romance,thrills and splendid acting. Strong main cast formed by Alain Delon, actor most used in Rene Clement films (Blazing sun, Joy of living, Is Paris burning ?), furthermore the American actresses as an attractive mature Lola Albright and a gorgeous Jane Fonda who is always hot for him. As trivia to detach the secondary appearance of George Gaynes, the famous commandant Lassard from Academy Police series. Thrilling and exciting script based on novel titled ¨Joy house¨ by Day Keene. However the argument is a little complicated and full of plot twists. Adequate cinematography in white and black by magnificent cameraman Henry Decae. Atmospheric soundtrack with catching leitmotif by Lalo Schifrin, a classical musician from the 60s and 70s, even today composing . The picture is well realized by Rene Clement . He's an expert on thrillers(Baby sitter, House under the trees, Rider on the rain) and WWII films(Is Paris burning?,The damned, Battle of the rails), resulting to be his best one titled ¨Forbidden games¨. Rating: Good and better than average. This nice movie will appeal to Alain Delon and Jane Fonda fans.
This intriguing film also titled¨ The love cage¨ contains suspense, noir drama, romance,thrills and splendid acting. Strong main cast formed by Alain Delon, actor most used in Rene Clement films (Blazing sun, Joy of living, Is Paris burning ?), furthermore the American actresses as an attractive mature Lola Albright and a gorgeous Jane Fonda who is always hot for him. As trivia to detach the secondary appearance of George Gaynes, the famous commandant Lassard from Academy Police series. Thrilling and exciting script based on novel titled ¨Joy house¨ by Day Keene. However the argument is a little complicated and full of plot twists. Adequate cinematography in white and black by magnificent cameraman Henry Decae. Atmospheric soundtrack with catching leitmotif by Lalo Schifrin, a classical musician from the 60s and 70s, even today composing . The picture is well realized by Rene Clement . He's an expert on thrillers(Baby sitter, House under the trees, Rider on the rain) and WWII films(Is Paris burning?,The damned, Battle of the rails), resulting to be his best one titled ¨Forbidden games¨. Rating: Good and better than average. This nice movie will appeal to Alain Delon and Jane Fonda fans.
Cats
jotix10011 July 2011
Warning: Spoilers
Marc a French playboy has committed the ultimate sin, he beds the wife of a criminal lord in New York. With his injured pride as a cuckold, the man orders to bring him his head on a silver platter so he can enjoy his revenge and to satisfy his ego. Trouble is Marc has decamped New York and now is playing on the French Riviera. The men sent to get him locate him, but Marc is able to escape, finding refuge among the poor being fed at a local church, where he is not going to be found.
Marc fates changes when Barbara, one wealthy American woman comes to the mission where he has been staying accompanied by her cousin Melinda, whom she uses as her personal maid. Through Melinda, Barbara offers Marc a job at her rich villa as a chauffeur. Thinking it is the best solution to his problems, Marc accepts the invitation, but little does he know about what awaits him at Barbara's palatial home which hides a well kept secret, one in which Marc will play a principal role.
"Les felins" is based on an American pulp fiction paperback, written by Day Keene, an obscure author whose work is hardly known these days. The great Rene Clement knew a thing, or two, about making films and saw the potential of this story for his reunion with Alain Delon after their success on "Plein soleil", a triumph of great artistic proportions. Here Mr. Clement worked with Pascal Jardin and Charles Williams in a screenplay that captured the essence of Mr. Keene's novel.
Working with the great cinematographer Henri Decae, a favorite of a lot of the New Wave directors, Mr. Clement gets the proper atmosphere for the film. Lalo Schifrin contributed with a jazzy score that serves the movie well. Mr. Clement casting of the two principal female roles went to two American actresses, Jane Fonda, who was starting in French movies, as Melinda, and the wonderful Lola Albright, playing the deceiving Barbara, a woman who is hiding a deep secret. Alain Delon is Marc, the gigolo being sought by the Americans in one of his best screen appearances, in a film long forgotten.
The director also brought a few American actors to play the heavies in their unusual style. We see Carl Studer, Sorrell Brooke and George Gaynes among the supporting cast, in a film that should not be missed by fans of the excellent Rene Clement.
Marc fates changes when Barbara, one wealthy American woman comes to the mission where he has been staying accompanied by her cousin Melinda, whom she uses as her personal maid. Through Melinda, Barbara offers Marc a job at her rich villa as a chauffeur. Thinking it is the best solution to his problems, Marc accepts the invitation, but little does he know about what awaits him at Barbara's palatial home which hides a well kept secret, one in which Marc will play a principal role.
"Les felins" is based on an American pulp fiction paperback, written by Day Keene, an obscure author whose work is hardly known these days. The great Rene Clement knew a thing, or two, about making films and saw the potential of this story for his reunion with Alain Delon after their success on "Plein soleil", a triumph of great artistic proportions. Here Mr. Clement worked with Pascal Jardin and Charles Williams in a screenplay that captured the essence of Mr. Keene's novel.
Working with the great cinematographer Henri Decae, a favorite of a lot of the New Wave directors, Mr. Clement gets the proper atmosphere for the film. Lalo Schifrin contributed with a jazzy score that serves the movie well. Mr. Clement casting of the two principal female roles went to two American actresses, Jane Fonda, who was starting in French movies, as Melinda, and the wonderful Lola Albright, playing the deceiving Barbara, a woman who is hiding a deep secret. Alain Delon is Marc, the gigolo being sought by the Americans in one of his best screen appearances, in a film long forgotten.
The director also brought a few American actors to play the heavies in their unusual style. We see Carl Studer, Sorrell Brooke and George Gaynes among the supporting cast, in a film that should not be missed by fans of the excellent Rene Clement.
Probably Clement's best thriller...
dbdumonteil29 April 2006
...only "Plein Soleil" ("Purple noon" -the talented M.Ripley first version- ,a first Delon/Clement collaboration ,is superior.
The director's other thrillers were marred by unbearable metaphysical pretensions ("La Maison Sous les Arbres" " la Course du Lièvre à Travers Champs" "Babysitter" ...)which the use of American actors did not help.
A black and white film ,a strange choice for a story which takes place in a luxury mansion on the Cote d'Azur ,the cinematography is in direct contrast to that of "Plein Soleil" .Whereas the former work was often filmed in open air ,at sea,in "les felins " ,we almost never go out of the Fonda/Albright's place.The screenplay is absorbing ,a la Boileau-Narcejac (who wrote "Diabolique" and "Vertigo" ) and the suspense is sustained throughout the story. (I particularly dig the scenes with the car at the end).
It was actually René Clément's last good movie.All that follows is virtually disposable.
The director's other thrillers were marred by unbearable metaphysical pretensions ("La Maison Sous les Arbres" " la Course du Lièvre à Travers Champs" "Babysitter" ...)which the use of American actors did not help.
A black and white film ,a strange choice for a story which takes place in a luxury mansion on the Cote d'Azur ,the cinematography is in direct contrast to that of "Plein Soleil" .Whereas the former work was often filmed in open air ,at sea,in "les felins " ,we almost never go out of the Fonda/Albright's place.The screenplay is absorbing ,a la Boileau-Narcejac (who wrote "Diabolique" and "Vertigo" ) and the suspense is sustained throughout the story. (I particularly dig the scenes with the car at the end).
It was actually René Clément's last good movie.All that follows is virtually disposable.
Joy House?
JasparLamarCrabb7 December 2009
Warning: Spoilers
A great potboiler from René Clément starring Alain Delon as a gigolo on the run from a bunch of goons out to kill him. He ends up taken in by wacky Lola Albright and her "cousin" Jane Fonda. The two women are never what they seem to be and soon Delon is in more trouble than he ever expected. A fun movie full of colorful characters, insane dialog and some of the hippest music (courtesy of Lalo Schifrin). Clément's direction is stellar and the cinematography by Henri Decaë is first rate. It helps that the film is shot in the south of France. Delon has a lot of chemistry with both Fonda and Albright. This is probably Fonda's best acting up to this point and it's heartening to see the under-utilized Albright given such a substantial role. She's a twisted mix of Grace Kelly & Mrs. Danvers. The title is decidedly ironic.
Suspenseful Neo-Noir Film by René Clément
claudio_carvalho2 November 2017
After seducing the wife of a powerful mobster in New York, the bon- vivant wolf Marc (Alain Delon) travels to the French Riviera. However the mobster orders his gangsters to travel to France and bring Marc's head to him. They kidnap Marc but he succeeds to flee. Without any money, he hides in a mission for poor people. While donating food and supplies to the mission, the wealthy widow Barbara (Lola Albright) and her niece and housemaid Melinda (Jane Fonda) meet Marc and she hires him to be her chauffeur. He moves to a castle-like mansion and believes Barbara has hired him to have sex with her while Melinda falls for him. But Marc decides to investigate the death of Barbara's wife and discloses a hidden secret and that his life is in danger. What will Marc do?
"Les félins" is a suspenseful neo-noir film by the fantastic French director René Clément. The screenplay has many twists and two femme fatale with a great story. The only but is the adorable and irresistible Jane Fonda in the role of Melina. Marc (Alain Delon) is a handsome man but how could he resist to the sexy Melinda (Jane Fonda) in the top of her beauty? Better of a less sexy and beautiful actress in this role. My vote is seven.
Title (Brazil): "Jaula Amorosa" ("Love Cage")
Note: On 14 September 2023, I saw this film again.
"Les félins" is a suspenseful neo-noir film by the fantastic French director René Clément. The screenplay has many twists and two femme fatale with a great story. The only but is the adorable and irresistible Jane Fonda in the role of Melina. Marc (Alain Delon) is a handsome man but how could he resist to the sexy Melinda (Jane Fonda) in the top of her beauty? Better of a less sexy and beautiful actress in this role. My vote is seven.
Title (Brazil): "Jaula Amorosa" ("Love Cage")
Note: On 14 September 2023, I saw this film again.
An absolute delight!
sutul3d20 October 2000
This movie is wonderful! Very suspenseful, sexy and well acted. Jane Fonda is great and Alain Delon just freezes the screen with his coolness. Action packed and full of twists and turns. Get this movie if you can! You will not guess the ending. If you like cool cars, great B&W shots, 60's seduction and French movies in general this is the one for you. Everything that was missing from THE TALENTED MR. RIPLEY is in this forgotten gem.
Marvelously plotted, colorfully acted thriller on the Riviera...
moonspinner558 April 2009
Handsome gigolo in Paris, on the run from murderous thugs hired by the husband of one his conquests, takes refuge at a religious shelter; there, he meets and becomes employed by a wealthy, mysterious widow who lives in a neo-gothic castle on the Riviera. Why she picked him to be her chauffeur--and why she orders two identical uniforms for him--is just part of the mystery. Director René Clément keeps this skeletons-in-the-closet adaptation of Day Keene's novel twisty and engrossing, with incredulous Alain Delon in constant jeopardy. Lola Albright is intriguing as his benefactor, while young Jane Fonda is wry and funny as Lola's sex-starved cousin in lust with Delon (who struggles with his English, though this is shrugged off with amusing swagger). Flashy technique, expressive black-and-white cinematography by Henri Decaë, lovely score by Lalo Schifrin, and many clever turns of the screw. *** from ****
You have to see it in French!
benoit-324 October 2003
I never saw the English dubbing of this film, but I saw the French original and it is superlative. The music by Lalo Shiffrin is absolutely groundbreaking and a promise of "missions impossible" to come. The photography and editing only give Godard's "Breathless" a knowing passing reference but are way ahead of anything the so-called New Wave (with its stuttering scripts, faulty story-telling, amateur production values and intellectual pretensions) could ever come up with. You'll think you're watching outtakes of "A Hard Day's Night" and the film would still be better than most of today's US suspense-actioners if it hadn't been for the invention of the steadycam. You haven't truly lived until you have experienced Jane Fonda's French-speaking virginal sex kitten act. A taut thriller, extremely modern, from a filmmaker who was always synonymous with the principle of "quality first". Like many French film classics, it is inspired by those oh-so-exotic British/US "romans noirs" (crime novels). And it is a statement on the cold fact that women are about to take over the world and that those lovely little menzipoos can only be relied on for violence and sex.
Thriller-Chiller by Rene Clement!
shepardjessica-126 December 2004
Alain Delon has the perfect role as the ne'er do well young man, Lola Albright (sad & wonderful in LORD LOVE A DUCK) has commanding screen presence, and Jane Fonda is youthful beauty personified. Ms. Fonda was never more gorgeous than in this creepy little French Film. Those eyes. Nice job with the French language as well. Cool house. Interesting quirky musical score by Lalo Shifrin. Great B/W cinematography and strange "plot".
A 6 out of 10. Best performance = Jane Fonda. It's hard to describe what goes on in this one, but I couldn't get it out of my head for days. Nice atmosphere.
A 6 out of 10. Best performance = Jane Fonda. It's hard to describe what goes on in this one, but I couldn't get it out of my head for days. Nice atmosphere.
Why the film is a 9/10 and should be a cult film.
row333au22 February 2017
Les Felins is a very advance for it's time with uniqueness, the modern theme and twisting multi-plots. It's been so very underrated but in a way this protected it from being commercially spoilt, which had kept it's class and intelligence.
The film is a marriage of french elegant dark film and new wave raw but done in a so stylish but not too arty, in a very balance cinematic intrigue and pleasure. With the surprising humours, quirky action and thriller drama between characters.
Almost all the characters have great presence, acting and perfectly cast. Even the mafia gang (like the 60's rat pack) hunting down Marc have such an appeal to suave henchmen.
Example the main ones are Alain Delon as Marc (gigolo, living off women, fugitive from American mafia, while in hiding he is being a seducer chauffeur)- Delon himself cannot be refuted to be perfect epitomize of magnetic don juan. Lola Albright as Barbara (philanthropist, cougar, millionaires, mistress of the estate)- Albright even at middle age can rival hotness in class, elegance and beauty any top vogue models. Jane Fonda as Melinda (charity worker, niece of Barbara, playing the maid, love struck of Marc)- Fonda is such a great pleasing to the eyes of any male seeing her at this age and her very alluring attractive female hotness. Overall the three of them have such appeal of sexiness that it actually transpire into cinematic pleasure, on top of their top acting abilities.
Rene Clements have really captured a great almost perfect flow of how this story evolve. He had few modern for it's time elements (not to mention objects)that created distinct actions, dialogue, close interactions and developments of suspense to antithesis to demise of thriller story.
The critic to this is that you will wish it was also released dubbed in English, the film was in colour and added more scenes.
The film is a marriage of french elegant dark film and new wave raw but done in a so stylish but not too arty, in a very balance cinematic intrigue and pleasure. With the surprising humours, quirky action and thriller drama between characters.
Almost all the characters have great presence, acting and perfectly cast. Even the mafia gang (like the 60's rat pack) hunting down Marc have such an appeal to suave henchmen.
Example the main ones are Alain Delon as Marc (gigolo, living off women, fugitive from American mafia, while in hiding he is being a seducer chauffeur)- Delon himself cannot be refuted to be perfect epitomize of magnetic don juan. Lola Albright as Barbara (philanthropist, cougar, millionaires, mistress of the estate)- Albright even at middle age can rival hotness in class, elegance and beauty any top vogue models. Jane Fonda as Melinda (charity worker, niece of Barbara, playing the maid, love struck of Marc)- Fonda is such a great pleasing to the eyes of any male seeing her at this age and her very alluring attractive female hotness. Overall the three of them have such appeal of sexiness that it actually transpire into cinematic pleasure, on top of their top acting abilities.
Rene Clements have really captured a great almost perfect flow of how this story evolve. He had few modern for it's time elements (not to mention objects)that created distinct actions, dialogue, close interactions and developments of suspense to antithesis to demise of thriller story.
The critic to this is that you will wish it was also released dubbed in English, the film was in colour and added more scenes.
not so joyous
blanche-226 June 2015
Rene Clement again directs Alain Delon, this time in Joy House, a 1964 film that covers a lot of genres - thriller, noir, suspense, and romance.
Delon plays a criminal on the run. He enters a place for homeless people on the Riviera and two women serve soup there, played by Lola Albright and Jane Fonda.
The women bring him to Albright's mansion -- she's a wealthy woman who works at saving people. Fonda is her cousin and falls hard for Delon and tries to seduce him. Meanwhile, someone is trying to poison him and his former gang knows where he is and is out to get him.
Interesting film, with the highly underrated Lola Albright giving an excellent performance as a beautiful but tough woman. Fonda, who says her French wasn't very good, is excellent as well as gorgeous. Of course Delon was better looking than both of them, and while his character is attracted to the Albright character, I don't know why he wasn't attracted to Jane.
The end of this film is wild and really brilliant.
The film explores the idea of prison. Sometimes even without bars, you can be a prisoner.
Delon plays a criminal on the run. He enters a place for homeless people on the Riviera and two women serve soup there, played by Lola Albright and Jane Fonda.
The women bring him to Albright's mansion -- she's a wealthy woman who works at saving people. Fonda is her cousin and falls hard for Delon and tries to seduce him. Meanwhile, someone is trying to poison him and his former gang knows where he is and is out to get him.
Interesting film, with the highly underrated Lola Albright giving an excellent performance as a beautiful but tough woman. Fonda, who says her French wasn't very good, is excellent as well as gorgeous. Of course Delon was better looking than both of them, and while his character is attracted to the Albright character, I don't know why he wasn't attracted to Jane.
The end of this film is wild and really brilliant.
The film explores the idea of prison. Sometimes even without bars, you can be a prisoner.
Charismatic leads, mess of a movie.
laurent-saletto23 July 2021
Plein Soleil, this film ain't. The problems abound here. From awful accents to lack of chemistry between all 3 protagonists, bad editing, choppy scenes and almost incomprehensible actions from all involved render Les Felins almost unwatchable considering the main plot is really quite simplistic, this is not a film I would choose to see again.
I think it would have benefited from a few rewrites and less awareness of how cool it is (it aint). Lalo Schiffrin's score is shrill, way too loud and sub Mannix. Rene Clement generally assured, if safe, direction is not in evidence due to an edit job that a trained monkey could have improved upon. Nothing here to look at, full debacle. 4 out of 10 for the beautiful people in it!
I think it would have benefited from a few rewrites and less awareness of how cool it is (it aint). Lalo Schiffrin's score is shrill, way too loud and sub Mannix. Rene Clement generally assured, if safe, direction is not in evidence due to an edit job that a trained monkey could have improved upon. Nothing here to look at, full debacle. 4 out of 10 for the beautiful people in it!
Well...
anawesomemoviefanatic4 July 2004
I love Jane Fonda and Alain Delon, and have seen several of their movies, so I just HAD to seek this one out. It was interesting enough, thankfully not too overlong, at just a little over 90 minutes, but dear god, that plot! I really tried to follow it but after awhile just kind of gave up. It's a ridiculous story but still intriguing enough if you like these 60s French gems. Delon's performance isn't great but who cares, he's Alain Delon, just look at his face. And Jane Fonda....oh wow, I believe this was the beginning of her journey into making sultry French films. I love Jane but this isn't her best performance or French movie. Check out "The Game is Over", it's much better than this and Jane sparkles in it. But you should have fun with this one. Now all they need to do is release "Circle of Love", the only one of Jane's French films that isn't available.
New York gangs speaking French ?
ebiros23 September 2012
Marc (Alain Delon) is a womanizer. He womanizes a New york gang's wife, and royally gets them angry. He flees to France, but the gangs are after him. They catch up to him, but in their encounter, they're speaking French. I can understand them speaking Italian, but New York gangs speaking French ? Jane Fonda's voice is also dubbed over.
That's the only part I'd like to nit pick about this movie. The rest is superb. Alain Delon, and Jane Fonda are absolutely beautiful.
This kind of gorgeous looking actors don't exist anymore. The movie is classy in the way its made. It doesn't have any high tech in it, but has gorgeous lifestyle in its place. I really think we made the wrong choice in our lifestyle. We need to bring back more of the gorgeous lifestyle like people in the '60s had.
Don't miss this movie, because it's just great.
That's the only part I'd like to nit pick about this movie. The rest is superb. Alain Delon, and Jane Fonda are absolutely beautiful.
This kind of gorgeous looking actors don't exist anymore. The movie is classy in the way its made. It doesn't have any high tech in it, but has gorgeous lifestyle in its place. I really think we made the wrong choice in our lifestyle. We need to bring back more of the gorgeous lifestyle like people in the '60s had.
Don't miss this movie, because it's just great.
If a deal looks too good to be true, it probably is
gridoon202420 March 2021
Lively, twist-laden thriller set mostly in the French Riviera; there are no real "good guys" here, so you don't know how it will all turn out. The decision to film it in black & white is questionable, especially since it's more of a cosmopolitan thriller than a film noir, but other than that it's enjoyable, and Alain Delon & Jane Fonda (at her most provocative phase) certainly make one of the best-looking pairings in screen history. **1/2 out of 4.
a stellar triangle
dromasca21 November 2023
'Les félins', René Clément's 1964 film released in the English-language market under the title 'Joy House' - proposes a stellar encounter. Alain Delon was already established as one of the superstars of French cinema and had gained international fame after starring in Visconti's 'The Leopard'. Jane Fonda had already made a name for herself as an actress in the United States and was struggling to get rid of the status of 'daughter of ...'. It was probably one of the purposes of crossing the ocean and wanting to work with European directors. René Clément was the first she would meet, an excellent professional, always with an eye on the audience and what they wanted to see, but sufficiently documented and skilled to take from the techniques of the New Wave and combine them with good traditions of French comedies and film noirs. The next will be, of course, Roger Vadim. But watching this movie also gave me a surprise. The two superstars on the credits are overshadowed by the screen presence of Lola Albright, an American actress from a previous generation, somewhat forgotten today, and it's a shame that it is so.
Marc, a Don Juan with a superb physique, makes the mistake of getting involved with the wife of a South American Mafia boss, who decides to punish him in an exemplary and fatal way. After being found somewhere on the Cote d'Azur and after a tough beating, Marc barely escapes with his life and takes refuge in a convent, where he is hired as a driver by one of the benefactors, a rich and beautiful American widow. However, the castle where she lives with her younger and equally beautiful cousin harbors some macabre secrets, in addition to numerous secret corridors and rooms. Marc's life will be put in danger both outside the castle where he continues to be pursued by mobsters and inside where he becomes the object of subtle and cruel games of love and death.
René Clément adapted an American novel and would have had the opportunity to accentuate the macabre parts of the story and even slip into the horror genre. He didn't, and the film that begins as a combination of comedy and film noir, continues as a psychological thriller with erotic undertones. It is obvious that the director did not want to shock or alienate some of his regular audience. And yet, Clément made some unusual cinematic decisions. The film is shot in black and white, although the production is from 1964, when color film was at least as economical, and although a good part of the action scenes take place in the picturesque and sunny landscape of the Cote d'Azur. The cinematographer is Henri Decaë, one of the cinematographers adored by the New Wave directors, and the music belongs to the Argentinian Lalo Schifrin, who was then at the beginning of a career of over 60 years (and still counting) in which he would compose countless musical themes immortalized by famous films and successful television series. Alain Delon and Jane Fonda were in the prime of their youth and shine as I expected, but the real revelation is the third component of the triangle of characters whose adventures take place in the mysterious and dangerous castle. Lola Albright is beautiful and charismatic, and viewers (as well as Marc, the film's hero) have a difficult task in deciding which of the two women is more attractive. If you haven't seen 'Les félins' yet, don't miss the opportunity to watch it. If you've already seen it, consider a rewatch.
Marc, a Don Juan with a superb physique, makes the mistake of getting involved with the wife of a South American Mafia boss, who decides to punish him in an exemplary and fatal way. After being found somewhere on the Cote d'Azur and after a tough beating, Marc barely escapes with his life and takes refuge in a convent, where he is hired as a driver by one of the benefactors, a rich and beautiful American widow. However, the castle where she lives with her younger and equally beautiful cousin harbors some macabre secrets, in addition to numerous secret corridors and rooms. Marc's life will be put in danger both outside the castle where he continues to be pursued by mobsters and inside where he becomes the object of subtle and cruel games of love and death.
René Clément adapted an American novel and would have had the opportunity to accentuate the macabre parts of the story and even slip into the horror genre. He didn't, and the film that begins as a combination of comedy and film noir, continues as a psychological thriller with erotic undertones. It is obvious that the director did not want to shock or alienate some of his regular audience. And yet, Clément made some unusual cinematic decisions. The film is shot in black and white, although the production is from 1964, when color film was at least as economical, and although a good part of the action scenes take place in the picturesque and sunny landscape of the Cote d'Azur. The cinematographer is Henri Decaë, one of the cinematographers adored by the New Wave directors, and the music belongs to the Argentinian Lalo Schifrin, who was then at the beginning of a career of over 60 years (and still counting) in which he would compose countless musical themes immortalized by famous films and successful television series. Alain Delon and Jane Fonda were in the prime of their youth and shine as I expected, but the real revelation is the third component of the triangle of characters whose adventures take place in the mysterious and dangerous castle. Lola Albright is beautiful and charismatic, and viewers (as well as Marc, the film's hero) have a difficult task in deciding which of the two women is more attractive. If you haven't seen 'Les félins' yet, don't miss the opportunity to watch it. If you've already seen it, consider a rewatch.
A must for fans of the suspense film
yannsaunders5 August 2005
Despite the naysayers, I count "Les Felins" among my all-time favorites. Hey, we're talking of a thriller that was made over 40 years ago ! Lalo Schiffrin's introductory bass riff is as suspenseful as it is masterful.
The actors may not have been at their best in 1964 but IMHO they still did a helluva good job with the plot (French Riviera playboy Delon seduces Mob boss' wife; he tells his men, "Bring me back his head!"; Delon is forced into hiding and ends up a prisoner of the sexy ladies who help him escape the Mob.
I have not seen the English version but would like to get a copy of the French version with English subtitles.
The actors may not have been at their best in 1964 but IMHO they still did a helluva good job with the plot (French Riviera playboy Delon seduces Mob boss' wife; he tells his men, "Bring me back his head!"; Delon is forced into hiding and ends up a prisoner of the sexy ladies who help him escape the Mob.
I have not seen the English version but would like to get a copy of the French version with English subtitles.
"The lock is temperamental, one must learn how to tame it."
DoorsofDylan7 March 2023
Warning: Spoilers
Getting home after discussing the novel The Savage Garden by Mark Mills at my monthly reading group,I decided to end the night with a viewing. Making a number of attempts since 2019 to see the movie since I picked it up, but something always interrupting my plans, I decided to turn my phone off, and finally get ready to enter this joyful house.
View on the film:
Finding Marc rushing down the street with a top-down perspective overhead shot moving to the hypnotic,free spirited Jazz score from Lalo Schifrin, (future composer of the Mission Impossible theme, with this being Schifrin's fifth credit) co-writer (with Pascal Jardin and Dead Calm novelist Charles Williams) / directing auteur Rene Clement & Elevator to the Gallows (1958-also reviewed) / his regular cinematographer of this period Henri Decae, lock Marc in to an ultra-stylized house of mirrors.
Running across the grounds of the of the house with long lens, narrow tracking shots and zoom-ins (long narrow shots being a major recurring motif in Clement's works) which build a claustrophobic Neo-Noir atmosphere, that Clement and Decae have shine by making all the car roofs see-through/ glass and dented with subtle light distortion, emphasizing Marc being unable to get a clear vision of Barbara and Melinda's true intentions, spiraled out by Clement with spectacular, experimental layered mirror shots, reflecting Marc's desires in a seductive dance number, that gets shattered by Clement into a startling, frenzy of freeze frames on Marc's hopes being left broken.
Escaping by the scruff of his neck from the hands of Vincent, (played with a snarl by Andre Oumansky) the screenplay by Jardin, Williams and Clement superbly adapt Day Keene's novel by giving Neo-Noir loner Marc a false sense of security in the confined location (closed off settings being a major recurring theme in Clement's films) as he is welcomed by Femme Fatale duo Melinda and Barbara, who the writers intelligently use to string Marc into doubt/ sense of ambiguity over the image of the relationship the duo present, which is wickedly cut by Melinda, when she reveals that Marc is banned from leaving this Noir castle.
Reuniting with Clement after Purple Noon (1960-also reviewed) Alain Delon gives a terrific performance as Marc, who Delon has enter the household with a anxiety of being caught by Vincent and his thugs, which gradually gets removed, as Marc becomes transfixed by Melinda and Barbara, until he suddenly gets clawed, at the moment Delon displays Marc finally having a glimpse of hope that he can get away free.
Sitting on opposite sides of the home, Jane Fonda and Lola Albright give outstanding performances as Melinda and Barbara, with Fonda displaying a self-aware seductiveness, as Melinda presents an innocent face,while slyly wrapping Marc round her little finger, and Albright glides round the location like a decadent heiress disconnected from the outside world, until an unexpected phone call causes Albright to leave Barbara screaming to the shattering of her house of joy.
View on the film:
Finding Marc rushing down the street with a top-down perspective overhead shot moving to the hypnotic,free spirited Jazz score from Lalo Schifrin, (future composer of the Mission Impossible theme, with this being Schifrin's fifth credit) co-writer (with Pascal Jardin and Dead Calm novelist Charles Williams) / directing auteur Rene Clement & Elevator to the Gallows (1958-also reviewed) / his regular cinematographer of this period Henri Decae, lock Marc in to an ultra-stylized house of mirrors.
Running across the grounds of the of the house with long lens, narrow tracking shots and zoom-ins (long narrow shots being a major recurring motif in Clement's works) which build a claustrophobic Neo-Noir atmosphere, that Clement and Decae have shine by making all the car roofs see-through/ glass and dented with subtle light distortion, emphasizing Marc being unable to get a clear vision of Barbara and Melinda's true intentions, spiraled out by Clement with spectacular, experimental layered mirror shots, reflecting Marc's desires in a seductive dance number, that gets shattered by Clement into a startling, frenzy of freeze frames on Marc's hopes being left broken.
Escaping by the scruff of his neck from the hands of Vincent, (played with a snarl by Andre Oumansky) the screenplay by Jardin, Williams and Clement superbly adapt Day Keene's novel by giving Neo-Noir loner Marc a false sense of security in the confined location (closed off settings being a major recurring theme in Clement's films) as he is welcomed by Femme Fatale duo Melinda and Barbara, who the writers intelligently use to string Marc into doubt/ sense of ambiguity over the image of the relationship the duo present, which is wickedly cut by Melinda, when she reveals that Marc is banned from leaving this Noir castle.
Reuniting with Clement after Purple Noon (1960-also reviewed) Alain Delon gives a terrific performance as Marc, who Delon has enter the household with a anxiety of being caught by Vincent and his thugs, which gradually gets removed, as Marc becomes transfixed by Melinda and Barbara, until he suddenly gets clawed, at the moment Delon displays Marc finally having a glimpse of hope that he can get away free.
Sitting on opposite sides of the home, Jane Fonda and Lola Albright give outstanding performances as Melinda and Barbara, with Fonda displaying a self-aware seductiveness, as Melinda presents an innocent face,while slyly wrapping Marc round her little finger, and Albright glides round the location like a decadent heiress disconnected from the outside world, until an unexpected phone call causes Albright to leave Barbara screaming to the shattering of her house of joy.
Keep watching this one...it gets REALLY good by the end.
planktonrules12 August 2013
"Joy House" (aka "Les Félins") is a French suspense film that really sneaks up on you. That's because about 70% through the film, I was rather bored. However, late in the picture, everything came together so well--so perfectly--that you can't help but really admire the film.
This film begins with a group of paid killers capturing a schnook (Alain Delon) who has apparently ticked off the boss. However, despite beating the snot out of the guy, he's able to escape and desperately looks for a place to hide. He wanders into the lives of two ladies (Jane Fonda and Lola Albright) and they help him hide and give him a job as a chauffeur. This is a bit strange and it's all chalked up to the ladies being full of love of the poor and destitute. However, through the course of the film, Delon picks up on some clues that PERHAPS these women aren't such wonderful benefactors--and he is being kept their for nefarious reasons. However, if he leaves, the killers will find him and dispatch him. What's next?!
In many ways, this film is very reminiscent of a later Delon film, "Diaboliquement Vôtre". Both have wonderful endings and both involve Delon being held in a mansion due to ulterior motives. So, in a way, this later film is a bit derivative--but still good. Both, however, feature AMAZING endings--deliciously twisted and very satisfying.
By the way, one of the killers is played by Sorrel Booke--the guy who later played 'Boss Hogg' on "The Dukes of Hazard". Also, the DVD case really makes "Joy House" look like a terrifically sexy film. It has its moments, but really is a suspense film not a film with a lot of skin.
This film begins with a group of paid killers capturing a schnook (Alain Delon) who has apparently ticked off the boss. However, despite beating the snot out of the guy, he's able to escape and desperately looks for a place to hide. He wanders into the lives of two ladies (Jane Fonda and Lola Albright) and they help him hide and give him a job as a chauffeur. This is a bit strange and it's all chalked up to the ladies being full of love of the poor and destitute. However, through the course of the film, Delon picks up on some clues that PERHAPS these women aren't such wonderful benefactors--and he is being kept their for nefarious reasons. However, if he leaves, the killers will find him and dispatch him. What's next?!
In many ways, this film is very reminiscent of a later Delon film, "Diaboliquement Vôtre". Both have wonderful endings and both involve Delon being held in a mansion due to ulterior motives. So, in a way, this later film is a bit derivative--but still good. Both, however, feature AMAZING endings--deliciously twisted and very satisfying.
By the way, one of the killers is played by Sorrel Booke--the guy who later played 'Boss Hogg' on "The Dukes of Hazard". Also, the DVD case really makes "Joy House" look like a terrifically sexy film. It has its moments, but really is a suspense film not a film with a lot of skin.
I Tried
ags1238 September 2017
After forking over big bucks for this hard-to-find DVD, I tried several times (unsuccessfully) to get through it without falling asleep. From the reviews I expected a taut, cool thriller. No such luck. It soon became an unconvincing, muddled mess with not an ounce of suspense. Lola Albright looks fantastic; Why she wasn't a bigger star is the real mystery here. Jane Fonda (in her pre-feminist/militant days) looks the best she ever did. Alain Delon's appeal is lost on me. All three could use a few lessons from The Actor's Studio. The Lalo Schifrin score tries hard, but even at its noisiest couldn't rouse me from my semiconscious state. Anyone wanna buy a used DVD?
As good as an hitchcock !
fred-ze-bug6 June 2003
I have read someone talking about rené clair - hahaha ! The director is rené clement and he's made lot of classic, lot of wonderful movies as "jeux interdits", "la bataille du rail", "plein soleil" and this one, in the middle of the french cinema golden age. People talking about rené clair instead of rene clement could not be reliable at all - or john huston and john ford are the same person. Brainless often speaks like brainfull... So, here we go, Delon needs to hide and these 2 women accept to hide him from police in their beautiful house - but, what u see is not what is real, like Hitchcock used to do to fool his audience, and soon you'll learn, as the poor delon learns, that these charming ladies are worse than the police... Women here are pretty modern, and men are toys for them, toys u can tear apart, toys u can leave in a room til u need them, men slaves to their desire and will. And what was at the beginning just a hide and seek with the police become a nightmare and a jail for a man totally under control of 2 women - like women had been toys for men for centuries... And this is the modern part of the movie, the raising power of women in the world and the unability for men to take back the control of their lives. Delon is handsome as the devil, but a devil ruined by women, with no escape, and what was only a runaway movie becomes a nightmare movie - watch it til the end ! Without hesitation --> 9/10
Deja vue all over again...
paul-685-66457522 July 2021
Warning: Spoilers
I can't say much about this movie because it would spoil the fun (and suspense). Let me just point out one fact that seems to have been missed by all viewers and critics of the 2019 Parasite (Gisaengchung). Namely, Joy House is the precursor of Parasite.
It is a pleasure to see Jane Fonda and Alain Delon together. Lola Albright was excellent too.
Too bad that Jane Fonda was dubbed. I love her voice. The script could have been modified in such a way that Fonda speaking with an accent would have been normal. As a matter of fact, weren't both Barbara Hill and Melinda the niece American anyway? I couldn't figure that out.
Highly recommended.
It is a pleasure to see Jane Fonda and Alain Delon together. Lola Albright was excellent too.
Too bad that Jane Fonda was dubbed. I love her voice. The script could have been modified in such a way that Fonda speaking with an accent would have been normal. As a matter of fact, weren't both Barbara Hill and Melinda the niece American anyway? I couldn't figure that out.
Highly recommended.
LOTS OF TWISTS AND SURPRISES, BUT NOTHING GREAT
theeht24 August 2001
If you can hang in til the climax, you'll be rewarded with some surprise twists, and a predictable ending. Otherwise it's a plodding, average mystery film with nice on location filming of the french Rivera. Beautiful Lola is terrific as a mysterious lady, and Jane is a sexy doll(not one of her better performances, though), but Delon is a surprisingly wooden leading man.
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