Drama / Romance

IMDb Rating 6.4 10 1585


Uploaded By: FREEMAN
June 03, 2021 at 03:30 PM



Virna Lisi as Francesca Ferrara
Jeanne Moreau as Eve Olivier
Stanley Baker as Tyvian Jones
Vittorio De Sica as (uncredited)
720p.BLU 1080p.BLU
1.14 GB
English 2.0
23.976 fps
2 hr 6 min
P/S 13 / 36
2.11 GB
English 2.0
23.976 fps
2 hr 6 min
P/S 12 / 34

Movie Reviews

Reviewed by tonstant viewer 9 / 10

Splendid Combination of Genres

"Eva" is based on a novel by James Hadley Chase, the British writer of American "tough-guy" novels. Director Joseph Losey overlays a cryptic story of alienation and obsession, and the beautiful photography makes the life of the film seem simultaneously glamorous and lonely.

But inside this modish story of a not-very-admirable man and the evil woman he falls in love with is a rollicking old noir screaming to be let out, with Robert Mitchum and Jane Greer as the femme fatale.

Contemporary Hollywood-style, one-thought-at-a-time storytelling is conspicuously absent here. The audience has to work to connect the dots in this film - there's no directorial hand on the back of your neck, turning your head to look at this road sign, then that, then the other. A requirement of active audience effort was once taken for granted, but is now much more rare and may be an unfamiliar experience for some viewers.

Jeanne Moreau is compulsively watchable (as always) as a woman who thinks, but we rarely know about what. The improbably handsome Stanley Baker has the time of his life acting for once, rather than punching someone's chin every twelve minutes, as in most of his films. Virna Lisi has dignity and consequence as the good girl whose love is never valued enough.

The underlying story of the film is a classic fantasy of male self-justification - man chases the wrong woman, one who treats all men badly because she can. The man lets himself be led around by his privates, he thinks with the wrong part of his body, and then he blames the hash he makes of things on the "evil" woman (see Adam's explanation to God in the Garden of Eden story). Another predessor of the film is Hogarth's The Rake's Progress.

Who the other characters are and what their motivations might be are minor questions - they are peripheral figures who only serve to focus the film on the central issues of male weakness and female inscrutability. The eternal question, "What do women want?", is enough to destroy the unstable male protagonist, and we watch him unravel in the beautifully photographed surroundings of Venice and Rome. The admirable letterbox transfer looks particularly seductive on a big-screen TV.

If you ever wondered what a film might look like that combined "The Blue Angel," "L'Avventura" and "Out of the Past," this is about as close as you'll get. Recommended to all except the most passive viewers.

Reviewed by Bunuel1976 7 / 10

EVA {Extended and Theatrical Versions} (Joseph Losey, 1962) ***

I had always appreciated Stanley Baker's presence in a film but having watched him in three major roles in a brief space of time - this, HELL IS A CITY (1960) and THE CRIMINAL (1960) - I realize how undervalued his talents are nowadays! This, naturally, makes me even more incensed to have missed out on the R2 SE of another notable film of his - HELL DRIVERS (1957) - which went unceremoniously out-of-print after having been available for barely a year!!

Though not a great beauty, Jeanne Moreau manages to make her character's essential irresistibility to men convincing, while her relationship with Baker - turning eventually into humiliation - makes for undeniably compelling drama. Losey gave the two stars uncharacteristic freedom here to get under their respective characters' skin and explore their various idiosyncracies (apart from utilizing records of the era, Eve's obsession with jazz music is also reflected in Michel Legrand's original score) - which probably resulted in the film's overgenerous length (originally 155 minutes!) and its subsequent butchering by the producers - Robert and Raymond Hakim, who had previously worked with Jean Renoir on LA BETE HUMAINE (1938) and would go on to produce Luis Bunuel's BELLE DE JOUR (1967)! The film, however, also allows lovely Virna Lisi to shine with her sympathetic portrayal of Baker's tragic girlfriend (later wife).

The film's uncompromising look at the jaded jet-set may have been inspired by Federico Fellini's LA DOLCE VITA (1960) - who, in turn, borrowed EVA's cinematographer Gianni Di Venanzo for his masterpiece 8½ (1963)! I especially enjoyed the film's Venetian backdrop (though it occasionally relocates to Rome): Baker is ostensibly a writer whose first novel has been turned into a motion picture, which is being presented at the world-renowned Film Festival - where, ironically, Losey's own film was declined and which I had the good fortune to attend myself a couple of years ago!! Besides, the funeral-on-the-water scene reminded me of Donald Sutherland's premonition of his own death in Nicolas Roeg's DON'T LOOK NOW (1973), also set in Venice. I don't know how faithful the film is to James Hadley Chase's source novel but its plot of an arrogant, selfish man brought down by an even more cold-hearted femme fatale certainly recalled two masterful screen versions of the Pierre Louys novel "La Femme Et Le Pantin" made by a couple of my favorite directors - Josef von Sternberg's THE DEVIL IS A WOMAN (1935) and Luis Bunuel's THAT OBSCURE OBJECT OF DESIRE (1977) - but, while still managing to make all their points beautifully, those films were much more fun!

That said, I appreciated the film even more on a second viewing via the shorter released version (also because much of the detail had been rather obscured in the murky - and, apparently, sole-surviving - print of the longer cut, complete with forced Scandinavian subtitles): while I knew that certain scenes had been removed, I can't say that I particularly missed them; however, I was surprised to see additional footage incorporated into this version that was missing from the 119-minute cut and especially a scene (which actually constitutes one of my favorite moments in the film!) where Baker stumbles and wounds his hand which Moreau finds amusing - their relationship having soured considerably by this point - and he responds by punching her in the face!!

Despite having previously made a handful of excellent films, EVA was Joseph Losey's first bona-fide attempt to break away from genre movie-making and branch out into the art-house scene: as such, the film is not only a key work in his oeuvre but also one of his most personal. It's a pity that it turned out to be such a bitter experience, with Losey subsequently disowning the 103-minute "Producers' Version" but, given that his original cut had been shorn by over 50 minutes, that's perfectly understandable. Unfortunately, that complete version seems now to be lost forever...

Reviewed by davidholmesfr 7 / 10

Deaf in Venice

Filmed in noir et blanc this is more noir than blanc. `Film gris' might be a better category. Venice in the winter with stormy waters, in more ways than one, provides the backdrop to this tale of two strong characters, Eve (Moreau) and Tyvian Jones (Baker). Neither character deserves, or gets, a shred of sympathy from us, she being a ruthless gold digger and the personification of evil, he a womanising writer who takes plagiarism to new heights (or depths).

Despite this, the powerful interaction between them draws us in to their world as their doomed relationship develops. This development is far from straightforward, as one would expect with Losey directing a French/Italian production. Both main characters appear deaf to each other's needs or demands. The film starts more or less where it finishes but we do not get taken around a clear circle, rather we fly off at irregular tangents. Whilst not making for easy viewing it does, nevertheless, hold our attention.

Moreau is central and dominates every scene in which she appears. In truth when she's not on screen the film falls rather flat. I'm not convinced that casting Baker, whose expertise lay in hard man roles either military (`Zulu') or criminal (`Robbery'), was right. He just about got away with it as a university don in Losey's later film `Accident', but as a writer moving in artistic circles this may be a stretch too far. If a freebooting Welsh Lothario (in Dylan Thomas mode) was required just think what Richard Burton might have made of it!

Watch out for a brief, but wonderful performance by James Villiers as a lugubrious, plummy screenplay writer.

This is not a film for recalling the `funny bits' but I defy British viewers not to enjoy Moreau's last words in the whole film - `Bloody Welshman'. Not a term unheard in English, Scottish or Irish rugby circles – but coming from Jeanne Moreau? Hilarious and wonderful.

The film is probably about 15 minutes too long – some of the scenes between the two main characters have elements of repetition and add little to the overall development. An interesting, if flawed, movie.

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