The Damned (Les maudits) (1947)
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Critic Reviews for The Damned (Les maudits)
Clément conjures up some good suspense sequences as the doctor hatches a plan to escape in an inflatable dinghy, though what really powers the story is the director's icy contempt for his ship of fools.
The characters are well drawn, notably M. Paul Bernard as the collaborationist, and there is a magnificent bit of acting by Dalio, which is well worth a hearing.
This poignancy may not translate to modern audiences whose ideas of postwar France revolves around a completely different war and a completely new France.
Audience Reviews for The Damned (Les maudits)
Based on a family's foray into unadulterated corruption during the third Reich. Initially, the relationships of the various characters were difficult to follow, but their manipulations and depravity slowly and memorably reveal their personalities. Debauchery and decadence are intrinsic within the Nazi regime. Helmut Berger's performance is amazing as he transforms from a dandy to a completely evil and ruthless man. The ending is incredible.
'The fall of the gods' it's the original and perfect title for this jarring shakespearean/greek like retelling, set in the morbid, decadent days of nazi Germany, told with Visconti's visual richness. Precursor of a whole new and very popular subgenre, the "sadiconazista" or "naziexploitation" fashioned/chic nazi erotic movies that pullulated Italy in the 70s (Il portiere di notte, Saló or Salon Kitty to name a few) it later reached America (Ilsa-she wolf of the ss) and even Hollywood (Cabaret). Essential chapter about the insanity of power.
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