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  • Six people on a Marseilles-Paris sleeper carriage. One murder on arrival. Then a killing spree by an unknown assassin bent on wiping out all remaining passengers.

    The Sleeping Car Murders is a French Hitchcockian thriller. It presents a pretty interesting puzzle to be solved, a mystery with a quite satisfying, clever resolution. In some other ways, aside from the Anglo-American Hitchcock influence it's a movie that also contains elements of the Italian giallo, what with its black gloved killer who prowls around bumping off each subsequent victim. It isn't as violent or salacious as the gialli though but it does have the sense of style associated with them. Although this one has a definite Gallic flavour with its Paris setting. It also has a very cool swinging 60's theme tune which adds to the overall chic value. Its plot is admittedly a little muddled at times and it's not always obvious who is who and what they are up to. But things do become clearer as the flick proceeds. It's certainly an interesting obscurity and should be of value for fans of post-noir. Look out too for an appearance by a young Jean-Louis Trintignant.
  • This twisted cop mystery follows the efforts of the overworked Paris police to solve first, a murder in a couchette car, the dead body discovered only after all the other passengers left, and then the strange necking of many of the others before the cops can get to talk to them. There is great acting here from Signoret, Montand and others, and very amusing supporting parts (the seasoned crook and talker Bob will have you cracking up) but the film doesn't really hang together tight as a police mystery. I agree with an earlier reviewer that it spells trouble for you as a viewer that the passengers, whom we glimpse in half-darkness on the train, remain nameless for too long, and when they are identified by the police, the names are not steadily linked to faces.

    It's confusing too that some of the characters suddenly muse into flashback kicking off from lines spoken to them on the train. This deepens them as characters but doesn't make the story concise. And at the police station, things are suddenly tossed in by phone calls in a way that looks haphazard. The root cause, I think, is that the film followed the book too closely, while Costa-Gavras knows how to create arresting, vivid scenes, he hasn't learnt at this point how to reimagine a storyline from writing so that it works on the screen, and so the movie seems a bit unfocused. When the final cause of the murders starts to crop up, it looks for too long like a joke element brought in for atmosphere.

    It's not a bad movie at all; the photography is great, the final car chase is a winner (how often do you see a car chase in 1960s Paris?) and the acting is very good. Don't expect a murder story, though, with the tightness and relentless, upheld suspense of "Strangers On A Train" or even some episodes of "Columbo" or "Kojak".
  • Warning: Spoilers
    Admirers of Yves Montand will always have a special affection for this one for without it we may never have had Cesar et Rosalie, L'Aveu, Le Cercle Rouge, Vincent, Francois, Paul et les autres, Police Python 357, Le Choix des Armes, Le Sauvage, Garcon, Jean de Florette and Manon des Sources for it was here that for the first time in 20 years Montand suddenly felt at home on a set and realised he could command an audience in a cinema as effortlessly as he did on the concert stage. Since 1945 when Edith Piaf had wangled him a part in her own vehicle Etoile Sans lumiere he had averaged one film a year but still found walking on to a set traumatic rather than enjoyable with the result that he spent the bulk of his time charming the crowds who flocked to see him at L'Etoile, Olympia and venues around the world. After Compartiment he returned to the concert stage only twice more - an inestimable loss but moviegoers gain. Stories of how the movie came to be made depend on who you choose to believe; first-time director and virtually unknown quantity Costa-Gavros credits both Montand and his wife, Simone Signoret; he had been an Assistant on an earlier film of Signoret's, got to know her and she in turn had introduced him to Montand but a slight social acquaintance with an Assistant director is a far cry from starring in his first movie. Having written a script and found a producer C-G was asked if he had anyone in mind to play in the thing. His only thought was Catherine Allegret for the role of Bambi, one of the two lovers who don't wind up with a tag on their toe. When he approached Simone she told him that Catherine (her daughter from her first marriage to director Yves Allegret) had to get her Bac before anything else but she herself could play the Actress; shortly afterwards Montand approached C-G and said 'I hear you've written a good script, is there anything for me in it'. Blown away C-G told him to read it and take any part he liked. Other sources contradict this account but at this stage it's purely academic and the main thing is the film got made, Montand resurrected his native Midi accent - which he had worked long and hard to eradicate - gave his police Inspector a head cold and a blocked nose to add colour - something which has since become a cliché with every actor and his Uncle Max cast as a cop utilisng it - and turned in a great performance as did everyone else including a young Jacques Perrin, perhaps lately better known as the top-and-tail narrator in two of the biggest feelgood hits of the past few years Cinema Paradiso and Les Choristes. Shot in black and white with a plot resembling a pretzel crossed with a spiral staircase it still retains its ability to thrill. Yet another gift from Scandinavia and an invaluable one for a Montand buff.
  • Six people are in a train sleeping car. One of them is murdered. Thus begins a fine thriller with some really good suspense. The story's underlying premise is clever and quite unusual for its time.

    The main problem here is the dialogue, which makes character identification unnecessarily hard. In the first 13 minutes, nine major characters are introduced, but no names. People refer to each other as "you" and "miss" and "she". Fully 18 minutes elapse before we know the names of all six sleeping car occupants. Even then we have only names, but no way to connect the names with the faces. As the plot moves along, additional characters are introduced, which further muddles a suspect pool that is already unclear. Because of the sloppy script writing, this is one of the most frustrating murder mysteries I have ever watched. Some simple changes in the script's dialogue could have made the characters so much easier to identify.

    The film's chilling suspense is reminiscent of Hitchcock. The solution to the whodunit puzzle is quite interesting, and foreshadowed by clues that are effectively subtle. Another plus is the presence of the lovely, and talented, Simone Signoret.

    "Compartiment tueurs" is a good thriller. If the characters had been better defined the film could also have been a great whodunit.
  • Warning: Spoilers
    'Z', by Costa-Gavras, was the only film I saw of him before, and it was highly captivating. This debut feature film was quite impressive in some ways, but (of course?) not as good.

    The story starts out with a murder on a train and works its way through a series of suspects and flashbacks which lead up to a surprising (if only I hadn't read some spoilers somewhere...) turn of events. It resembles 'Z' a little, plot-wise, but not with as much depth and poignancy, and this one is also more chaotic.

    The acting is fine, the cinematography is more than fine, and that's about it, really. A good 7 out of 10.
  • "The Sleeping Car Murders" is a quintessential and bona fide and prototypic Giallo, and yet at the same time … NOT a Giallo at all. Gialli are – generally speaking – Italian productions from the early 70's with a script written directly for the screen. "The Sleeping Car Murders" is French, released during the mid 60's (when Mario Bava only just kick-started the Giallo concept in Italy) and the script was adapted from a novel by Sébastien Japristot. Surely both Japristot and director Costa-Gavras didn't had a clue what a Giallo in fact was and simply aimed to deliver a good old-fashioned whodunit that would keep the reader/viewer guessing until the very end. Well, the least you could say is … they succeeded! "The Sleeping Car Murders" is an engaging, intelligent and convoluted murder-mystery with a tremendous amount of effective red herrings, detailed character drawings and one perplexedly flawless conclusion. I honestly can't fathom why this movie is so little known, especially since it concerns the writer of "A Very Long Engagement" and the director of the political top thriller "Z". If this exact same story were filmed by, say, Alfred Hitchcock, I bet the film would have ranked high in this website's top 250.

    Speaking of Hitchcock; several of his film revolved on the potentially perfect murder plot (like "Strangers on a Train", "Dial M for Murder"…) but – in my humble opinion – this is the film which comes up with the most ideal and waterproof scheme to get away with murder. I've rarely been overwhelmed and impressed as much as when upon witnessing the denouement of "The Sleeping Car Murders". Obviously I can't reveal too much about the climax, but it's so damn great that I really was almost tempted to select some random people and try out the formula myself! Six strangers share a compartment on the night train to Paris, one of them being a fare dodger who met up with a cute young girl in the compartment itself. The next morning one of travelers, a woman, lies murdered in her bed and a hugely complicated police investigation led by the cynical Inspector Graziani ensues. The next following days, however, the other residents of the compartment are murdered – Agatha Christie style - in cold blood as well, as if the killer wants to eliminate all potential witnesses before they have a chance to talk to the police. With the number of compartment survivors rapidly decreasing, the fare dodger and his girlfriend will have to seek protection before the killer finds them.

    The set-up of "The Sleeping Car Murders" is brilliant, without any form of exaggeration, and the tight screenplay fills in every tiny detail and remains always several steps ahead of even the cleverest viewers. The plot patiently takes its time to draw a detailed portrait of every witness and, since they each have their own dark secrets and suspicious characteristics, they could all be the culprits. The structure and unfolding of the plot is truly genius here. Whenever you're sure you figured out the killer's identity, he/she gets killed or some other type of twist points out he/she couldn't have done it. The film also gives some marvelous and realistic insight into the progress of a police murder investigation, like stressed Inspectors, false attention-seeking witnesses, dead-end leads, media circuses and a lot of hatred from wrongfully accused suspects. The entire cast and crew also contributes a great deal to the high level of brilliance of the film as well. This may perhaps have been Costa-Gavras' long-feature debut as a director, but his obvious talents and straightforward vision place his right away up there with the greatest film-makers ever. The performances, particularly from Simone Signoret and Yves Montand, are just as top-notch as every other tiniest detail in the rest of this ingenious but shamefully overlooked production.
  • I saw Compartiment tueurs many years ago in a movie house in New York City. I walked outside feeling still overwhelmed by how great a movie it is. It is an excellent mystery with outstanding performances by Yves Montand and Simone Signoret, but it is much more. Most mysteries do not work the second time around. What matters too much is discovering who the murderer is, but not here. What counts is not just the suspense and action but something else, a profound moral statement. The film reminds me a lot of Hitchcock's Vertigo, in which the audience knows two-thirds of the way through the film what has been happening. Well, in this film the audience begin to catch on to something else, something more significant than the identity of the killer. We discover something more disturbing, the pettiness of crime, particularly of murder. It is what Hannah Arendt called the "banality of evil."

    I like movies that have depth to them. I should, having degrees in several areas. As a philosopher and ethicist I relate strongly to what this film says. There is no greatness in criminality; by the end of the film we feel only a gnawing sense of all that has been lost.
  • Warning: Spoilers
    Six people share a sleeping-car on a Paris-bound train. When it reaches its destination, one of them is found murdered. As the police (headed by Yves Montand) frantically search for the the killer, the razor-sharp plot quickens and thickens--as the murderer (always one step ahead of the cops) proceeds to kill, one-by-one, the remaining occupants of the car. Finally only two young lovers are left (Jacques Perrin and Catherine Allegret), and they decide to solve the murders themselves. Wrong move, as the killer(s) zero in on their last remaining quarry. Costa-Gavras first film is undoubtedly his best. He keeps the pace so chillingly frantic that moviegoers (when I first saw the film in its 1965 theatrical release) literally gasped at each twist and turn of the deviously complicated plot. Simone Signoret is stunning as one of the victims (an aging actress), the murder scenes are staged in a shivering, cold-blooded manner that must have made Hitchcock green with diabolical envy, and the cast is superlative (keep an eye on a young Jean-Louis Trintignant--he's not at all what he initially seems). The climax (with Perrin trapped in a drugstore pay-phone booth, with Montand on the other end of the line instructing him how to dodge the killers closing in on him) is as heart-pounding, terrifying a sequence ever committed to celluloid. Filmed in France, utilizing breathtaking CinemaScope and black-and-white photography, "The Sleeping Car Murders" was dubbed for its American release. Purists may quibble, but no matter. It remains one of the most hypnotic, audacious (the homosexual twist at the finale was a true audience shocker in '65, and still is)), frightening thrillers ever committed to celluloid. A one-of-a-kind classic--sadly unavailable on DVD, VHS, or cable.

    Please let's get "The Sleeping Car Murders" back on the tracks. It's a rare must-see, for thriller-and-movie-buffs alike.
  • I saw this movie only once or twice -- on cable in the early 1980s, I think -- and it has remained one of my all-time favorites. It is filmed in black and white, and is a French police thriller seemingly populated with good-looking and sexy men, which is always an asset for me. I also love Simone Signoret and she is marvelous in this, as always. I think her daughter is in it, too, but I could be wrong. I cannot really review it because it is more or less a dim memory, but I remember being totally captivated by it. I have always looked out for it, but have not been able to either rent or buy it. I only remember excellent films, and I guarantee that any film buff would find this highly watchable and enjoyable.
  • Warning: Spoilers
    Things started pretty well and have some interesting mysteries: the woman dead in the cabin, the young man who is hiding, the pervert man who seem to be a suspect. But everything who have a potential to make mysteries and complexity failed: yes because after the train part we will follow them one by one but the killer will kill also the witnessed and so they are get killed one by one. A story who become more and more superficial and lack of complexity.

    The tension at the end was good but nothing more. Bombat get saved, the young man success to get out and the killer kill himself. I really felt all the potential complexity get killed by the superficial parts. I mean the train part had some potential of mysteries, love and interesting moments but things will get more and more boring really and we get pretty passive and just waited the killer to be arrested and the reason behind it was weird. I didnt really get into it all along except in the beginning. Have a nice case anyway but not enough for me.
  • There have been a handful of directors, notably Clouzot, Delannoy, Kurosawa and Claude Miller who have taken the 'police procedural' to new heights and transcended the genre. To this select group can be added Costa-Gavras for his astonishingly assured directorial debut 'Compartiment Tuers'.

    This technically virtuosic and gloriously inventive piece is impressive enough by any standards but Costa-Gavras has here taken the giant leap from assistant to fully-fledged director with consummate ease.

    He has the good fortune of course to have the services of simply superlative talent both in front of and behind the camera and great material with which to work, based as it is on the novel by Sébastian Japrisot who is renowned for 'subverting the rules of the crime genre'.

    This film is a heady mix of policier, film noir and mystery thriller with a sprinkling of black humour and succeeds as both homage to and spoof of those genres.

    The cast comprises some of France's finest and one has to mention Yves Montand who shows a new maturity here with his greatest roles still to come, not only for this director but also for Claude Sautet.

    A first film can be make-or-break and here Costa-Gavras is setting out his stall and declaring "Here I am!" Luckily for us, here he stayed.
  • This film, the original French title of which is COMPARTIMENT TUEURS, is known in English as THE SLEEPING CAR MURDER. I don't believe it has ever been available with English subtitles on DVD or video. I obtained a poor DVD copy of an off the air tape, which was dubbed into English. Despite the poor quality of my copy, it was well worth viewing. The film is directed and scripted by the famous Costa-Gavras, but is one of his least known films, because of the lack of distribution. It goes at a cracking pace and has a splendid cast. Probably the best job of acting is done by Michel Piccoli as a hopeless, creepy lech who is on the edge of madness and can't make it with women despite his uncontrollable lusts and interior rants of frustration, which we hear as voice-overs. Tthe film is filled with other well known actors. Yves Montand plays a world-weary Paris police inspector, Simone Signoret plays an aging woman who has fallen hopelessly in love with a mysterious young man played by Jean-Louis Trintignant. The scene where Montand interviews Signoret (the two in real life were a well known couple, as most people are aware) is amusing, because they struggle to control their giggles. Catherine Allégret plays a young girl just travelling to Paris for the first time in a sleeping car with five other people, two of whom are Signoret and Piccoli. They are on an overnight train journey from Marseilles (although the story starts at Avignon) to Paris. Upon arrival, a glamorous woman in the compartment is discovered to have been strangled to death. The police set about trying to find the killer and start by attempting to round up all the people who had spent the night in the sleeping car. But then, one by one, before the police can get to them, the people in the sleeping car are brutally killed by the same person, presumably to get rid of witnesses to the strangling of the woman in the sleeping car. However, the story has a lot more surprises than that. The film is based upon a novel by the very clever writer Sébastian Japrisot, who is famous for A VERY LONG ENGAGEMENT (2004) starring the Elf, Audrey Tautou, and THE CHILDREN OF THE MARSHLAND (1999, see my forthcoming review). This was the first feature film directed by Costa-Gavras, who was later to shake the world with his powerful political dramas such as Z, STATE OF SIEGE, MISSING, and MUSIC BOX. He is still with us, aged 81, and directed the film CAPITAL starring Gabriel Byrne and Philippe Duclos (one of my favourite actors) as recently as 2012, when he was 79. One curiosity of the casting is that Claude Berri appears as a porter in the film, though uncredited. It was in this same year that he produced his first short film, LE POULET. He had already been acting for twelve years. This film has many twists and turns and an extraordinarily ingenious plot. I will not spoil things by even hinting at an explanation of it. Costa-Gavras directs with verve and intensity, and he achieves a spectacular success with the complicated filming of a sequence where a speeding car is being chased by a gang of motorcycles. It is no easy thing to keep track of half a dozen speeding vehicles of different sizes streaking across the streets of Paris at night, and make it look convincing. The cinematography by Jean Tournier is a tour de force, and the editing by Christian Gaudin enables the director to achieve his sense of an insoluble mystery hurtling over a cliff into the unknown at ever-increasing speed, with Yves Montand, who is heavy-lidded and has a cold, streaking after it, determined to find out whodunit if it is the last thing he does (I mean, the last thing he does before going to sleep, as he so laid back that one often does not know whether he is thinking or napping). The spider's web of complexity of this film's plot and the explosive speed at which it travels creates what was to be the trademark Costa-Gavras sense of danger and excitement from this, his very first film. If you can find it and manage to see it, you certainly won't regret it. What a way to start his career as a director!
  • And also the first film directed by Costa Gavras, very brilliant, tense, intelligent, compelling and grabbing for any audiences. Agatha Christie 's novels atmosphere, schemes, seems not being so far from this one. It is not AND THEN THEY WERE NONE either but I repeat, the suspense is there, all long. Sixties atmosphere and score too. Pierre Mondy and Yves Montand are excellent and the dialogues typically French of this period. Costa Gavras will find his way later with political oriented films, not only thriller as this one. He will be famous for this. A true little gem. And so many stars as Michel Piccoli, Simone Signoret, Jean Louis Trintignant, Charles Denner; at least at this time, 1965, they were not all stars, they were just in progress.
  • Warning: Spoilers
    With veteran actors who were already stars (one an Oscar winner) and some less known internationally younger actors, this Costas Gavras film is a necessity for film students and lovers of the fine art that motion pictures on occasion can be. The murder of a young woman in a sleeping car leads to interviews with suspects and possible witnesses, and more murders occur along the way. Yves Montand heads up the investigation, and certainly has his hands full.

    Not only is the direction top notch, but the cinematography, too, utilizing many unique angles to allow the story to unfold. Simone Signoret is moving as an aging actress having an affair with a younger man, and her big segment is one of the highlights, followed by a surprising twist. Her real life daughter, Catherine Allégret, is the female lead, playing a young secretary unaware that her drifer lover (Jacques Perrin) is the main suspect. A very adult, sophisticated who done it, with lots of surprises!
  • Warning: Spoilers
    A young woman is found strangled on a train. Shortly thereafter a number of her fellow travellers get murdered too. It looks as though someone somewhere is most anxious to eliminate all potential witnesses...

    "Compartiment tueurs" is a tense, suspenseful thriller with memorable characters and a remarkably twisted intrigue. The movie also includes clever observations, such as the fact that it is easy to determine the sex of a stranger who stumbles over some of your possessions in the dark. The one who apologizes is female, the one who curses is male...

    The viewer is drawn into an increasingly frantic police investigation trying to make sense of fistfuls of data, clues and red herrings. Along the way, the viewer meets with a wide variety of people - eccentric, naive, romantic, over-conventional, opinionated, sex-obsessed or sensible. Some of the stories being told are heart-wrenching, such as the tale of the well-preserved widow (a fine performance by Simone Signoret, by the way) who has fallen under the spell of a much younger lover. Even if this story were being told outside of a thriller context, it would still breathe a tragic sadness.

    I liked "Compartiment" a great deal and so I recommend it to you. Still, near the end there is a villainous character who collapses like a broken chair and tells the police everything they want to know. If the character had kept his mouth shut, as any normal criminal would, the police would have found it hellishly difficult to solve the remaining questions. And as a result the denouement would have looked far, far different.
  • Warning: Spoilers
    What a piece of luck, a polar festival in my own town movie theatre (hanx) in the west suburb of Paris. And I finally rediscover the very first Costa-Gavras movie, a restored masterpiece in the way of shooting and editing, so fast-paced and inventive thanks to the cinematographer Jean Tournier. Jean Tournier worked again with Costa-Gavras on his second movie, "Un Homme de Trop", even more fast-paced than his first, and still with fabulous Michel Piccoli as the very special man. In both movies, the cast is terrific, but much more tense in "Un Homme de Trop". My favorite scenes in "Compartiment Tueurs" are : in the train, with Piccoli, and the last part when cops begin to understand, it gets faster and faster, fasten your seat belts. But my top favorite scenes are with the killer : I hadn't seen this movie for a long time and had since discovered Gialli (I've seen around 300 titles). So I got a shock when I first saw the killer in black leather, seeing him again and again : total giallo style. And what about the last scene, seen also in a giallo. And the car chase, like the killer scenes, are so similar to a master of gialli and crimi, I'll let you guess.

    Thank you, Sir Costa-Gavras.
  • I have heard and read a few accounts as to how this film nearly did not get made because no one was interested, but then Signoret apparently had worked with Costa-Gavras when he was still an apprentice assistant director, liked his approach and offered to play a part, and that somehow got her hubby, Montand, interested too. With those two big weights behind the production, Costa-Gavras managed to get a budget going, which also meant that the cast steadily included more and more up and coming French thespians, including already well known names like Jean-Louis Trintignant, Michel Piccoli, Bernadette Lafont, Claude Mann, Charles Denner, Pierre Mondy, among others.

    To be honest, I have never come across a more stellar cast in a French film, and - a rare event - it does not detract from its inherent quality, as the fast moving script and elusive murders and murderer perfectly dovetail with the individualities in a fast emerging, highly talented ensemble: Montand is memorable with his Marseilles accent and nose spray up his nostrils; Perrin and Allégret (Signoret's daughter) make a beautiful, lovable young couple; Piccoli deserves plaudits for his sympathetic portrayal of a man who can't take his eye off women's private parts; Claude Mann as the police intern who knows more than it seems; the extremely alluring Lafont makes the most of a tiny part as a wife trying to tell police more than her interfering hubby; Mondy as the chief inspector who keeps barking commands in numerical order, primo, segondo, tercio; and Denner almost steals the show in the role of Bob, with the nickname Robert, lover of the film's first victim, the luscious Pascale Roberts.

    Yes, so many roles and quality actors tend to spoil the broth, and COMPARTIMENT suffers a little bit from that, too - but it grabs you from the outset and the exciting final chase must have inspired many others.

    Mesmerizing B&W cinematography from Jean Tournier and editing by Christian Gaudin. Truly pulsating score by Michel Magne.

    The final standing ovation has to go to Costa-Gavras for the immaculate directorial debut and the terrific screenplay off the original novel by Japrisot.

    Wonderful noir whodunnnit, must-see for anyone interested in noir and French cinema. 9/10.
  • zutterjp4822 November 2021
    Six people are on the Marseilles-Paris train: at the arrival in Paris a woman has been strangulated in the train. Then begins a confuse investigation: the policemen are looking for datas about the 5 others passengers:And then one of the passengers is shot down.

    I enjoyed this murder investigation story : a great cast with Charles Denner (and his speechs against the French police) , Jean-Louis Trintignant , Yves Montand, Catherine Allgret, Simone Signoret, Pierre Mondy and Claude Mann.
  • Recently restored this Costa-Gravas's debut already envisages an avant-garde director, the stellar casting enhances the offering as mystery thriller on noirish style, on a wet and cold early morning at Paris when a sleeping car train coming from Marseille lays out a throttled body of a gorgeous woman Georgette Thomas (Pascale Roberts), the police lead by Inspector Grazzi (Yves Montand) has a hard task to pinpoint the assassin among the six travelers that occupied that cabin.

    There were a mid-age actress Eliane Darrès (Simone Signoret), a recently employed secretary Benjamine Bombat "aka" Bambi (Catherine Allegrétt), a bleak past character René Cabourgh (Michel Piccoli) who harassed the victim on the night, a quiet male public servant passenger back at your home at Paris, a mystery absence woman, and finally a young stowaway convict Daniel (Jacques Perrin) hided by Bambi in the absent bed at late night.

    This list went to the press call up by police to make statements aiming for fulfill the empty spaces of this awkward murder, strangely the passengers of sleeping car have been killed one by one, therefore Inspector Grazzi suggests a seven hidden passenger who is erasing witness, meanwhile appears others suspects as Eric Grandin (Jean-Louis Trintignant) as Mrs. Darrès's lover and the complainer Bob Vaskis (Charles Denner) whereof has a current affair with late Georgette.

    Finest French Hichtcockian-Agatha Christie's thriller on well-crated story that will surprise everyone on so unusual outcome, also has a black humor as the clumsy Daniel accidently has been scratched three woman stocks, without forget a night-time car chase on Paris.

    Thanks for reading.

    Resume:

    First watch: 2024 / How many: 1 / Source: DVD / Rating: 8.25.