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The Other Side of Midnight (1977)

The Other Side of Midnight (1977)

GENRESDrama,Romance,Thriller
LANGEnglish
ACTOR
Marie-France PisierJohn BeckSusan SarandonRaf Vallone
DIRECTOR
Charles Jarrott

SYNOPSICS

The Other Side of Midnight (1977) is a English movie. Charles Jarrott has directed this movie. Marie-France Pisier,John Beck,Susan Sarandon,Raf Vallone are the starring of this movie. It was released in 1977. The Other Side of Midnight (1977) is considered one of the best Drama,Romance,Thriller movie in India and around the world.

During WWII, beautiful Noelle meets dashing American pilot Larry in France and falls in love. She expects him to marry her, but instead he abandons her and meets successful Catherine in the United States and they marry. But Noelle hasn't forgotten him even as she's become a successful actress. She maneuvers to have Larry hired as the private pilot of her wealthy and powerful lover Constantin so she can seek revenge on him, but instead they rekindle their passion. Desperate to be together, they make deadly plans. But soon the lovers face a terrible fate determined by the jealous Constantin using Catherine as his pawn.

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The Other Side of Midnight (1977) Reviews

  • The Upper Side of Marie-France

    Poseidon-32006-06-08

    In what's basically a lost genre by now (sexy, poolside page-turner spun into glitzy, big-screen epic), Pisier goes from an innocent, young French girl to a fabulously wealthy film actress in the course of about 8 years. Wasting no time in establishing the tawdry tone of the film, she is basically sold by her parents, as a youth, to a local couturier (a straight couturier?!) who is played by a hairy and repugnant Booke (soon to be famous as Boss Hogg on "The Dukes of Hazard"!) Her father passes on the sage advise, "Let the hand under your dress be one of gold" (one of many howlers in the movie's dialogue) as her stone-faced mother (Chauvin) looks on. Unhappy with this arrangement, she flees to France where she meets up with Beck, a Canadian airman who takes her in and falls in love with her. When he's shipped off, she waits for him to come back and marry her (made ever more urgent by the fact that she's knocked up), but things get off course. Meanwhile, Sarandon is a slightly daffy, but resourceful public relations worker who's saving herself for Mister Right. When contrivances place Sarandon and Beck in the same vicinity, they fall for each other and are married, much to Pisier's dismay. From this point, Pisier is driven to bringing Beck back to her no matter what it takes and making him hers no matter what it takes, even if it's murder. Pisier (who in some shots resembles a young Joan Collins) injects a fair amount of emotion into her meaty role, but still comes off just a touch lacking. A bigger name actress may have given the role a few more layers, though few actresses would have been as willing as Pisier to continually doff her clothes and show off her pert bust (and more.) The very petite actress wears some downright massive heels throughout the film in order to meet Beck halfway and to show off some truly eye-popping Sharaff costumes. Beck (whose chin seems more prominent in his early scenes than at any other time in his career) fails to give his role the necessary magnetism or charisma that would inspire a woman to move heaven and earth to possess him. He's serviceable at best. Sarandon gets to have the most fun, displaying everything from wacky humor to imperiousness to romance to the degradation of alcohol to even the thrill of wearing a flimsy nightgown during a thunderstorm. Other key cast members include Vallone as a barely disguised Ari Onassis clone and Gulager as Sarandon's principled boss. For some reason, Marquand is denied the same star billing as the other folks and gets lumped in with the secondary players. Perhaps it is due to his humiliating love scenes with Pisier in which she tantalizes him with her long hair and two handfuls of ice! At least he seems to have retained a sense of humor about it. Look fast for Hesseman, of all people, as a film director. The film has the unfortunate task of trying to cram nearly a decade's worth of story into feature length. Even with its bloated running time, it's still necessary to skip over a lot. The director never met a music montage he didn't love and there are many in the film. Fortunately, skilled composer Legrand is on hand to ladle some sense of romance onto the film. One great asset is the production design, which features some really striking sets (primarily belonging to Vallone's character.) There are also a few memorable sequences such as a harrowing (and harrowingly tacky) bathtub abortion and a mean-spirited trip into a deserted section of a cavern. In the end, the film cannot escape its many clichés and contrivances and its ultimate silliness, but there are a few laughs and bits of interest to be had along the way. This type of flick (see also "The Betsy" and "Jacqueline Susann's Once is Not Enough") would soon be virtually abandoned as the type of material was more often used in TV mini-series like "Scruples" (also featuring Pisier), "Princess Daisy", "Hollywood Wives" and the lame sequel to this very film "Memories of Midnight", which had Jane Seymour (!) taking over Sarandon's role.

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  • Time capsule material

    Boyo-22004-08-25

    During the summer of '77, I didn't get to see as many movies as I had been used to seeing the past three years. The only other movie I saw that summer was "Star Wars." So here I am, 17 years old, and I go to this with my Grandmother and an aunt, cause, lets face it, this is what is a classic 'chick flick'. I dislike that expression cause it makes it seem like you have to be a woman to gain any enjoyment, and the only movie I'd personally attach that label to is "Thelma and Louise." Just cause the main character of a movie is a woman does not mean its not about a human being who is completely unbelievable. Anywho, I saw this again last week, and it may as well be 900 years old. They don't make trash like this anymore, but maybe that's because they don't write trash novels anymore. Gone are Harold Robbins, Jackie Susann and the author of this, Sidney Sheldon. We have Jackie Collins, but her stuff ends up on television (I think). Why has the world given up on the trash novel, the one you read on the beach or on a plane? This has it all, like the master checklist..epic length, betrayal, a lot of over- and under-acting, revenge, nudity, sex, self-abortion, international settings, a trial, an actress, a firing squad, a bitch, a virgin, a colorless leading man and even a surprise ending. 8/10.

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  • A romance of passion and power…

    Nazi_Fighter_David2007-05-21

    It's the time to breathe… to fall in love… to feel the heartbeat of every living moment of every endless day… It's a very romantic time… It's a time for dreams and heartbreak and hope… A time when fantasies can come true… In Paris, the enchanting Noelle—young and vulnerable—lives out her fantasies at the jagged edges of her broken dreams dazzled by its glamor… In Washington, the beautiful Cathy—taken by surprise with her own success—is unaware of its price… Larry—loved by both women— is a sly liar… Constantine Demeris has the power that extends beyond wealth, the power that knows the price of every woman's heart and every man's soul… Sidney Sheldon's story has all the suspense, the intrigue, and the emotions that explode when fantasy collides with destiny… His four unforgettable people live the romance, the passion, the betrayal, the hate and revenge against the midst of WWII, in Three countries: France, United States and Greece…

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  • early mini-series fodder

    retailmail-12006-07-26

    If this were to have been done twenty years later with a modern sensibility, gullible stars, a more lethal editor, and a spot more atmosphere, it could well have ended up as a hit. The budget was obviously good, and the photography is mostly excellent despite its too-frequent descent into seventies syrup. The lighting (and look) tends to be pretty uniform - for example, Wartime Paris was apparently a beautifully colorful time, and the mood gay and sumptuous, but then so is everything else, right down to the fitted carpet. The debt owed to the black and white classics is apparent, but there is something very unconvincing about using the old styles of movie-making with full-on glossy, TV color. A shame they didn't go all the way, and let the hammers fly -for heavens' sake give me some deep shadow when the lights are on. All in all, the zoom lens is over-active, the script underwhelming, and the score dreary. The performances, however, are lively and committed and the styling and costumes sometimes inspired. "Entraptured" as I was, I couldn't help feeling I was watching a Judith Krantz novel....oh, that's right - it's Sidney Sheldon! Compelling nonetheless...

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  • Worth watching once

    kf4wvk2006-06-11

    The scenery in Marseilles, Paris, Washington and Greece was nice, but the movie had some problems. First of all, the movie was just too long. There are long montages of love scenes that just keep going and going. Yes, we get the idea. They are falling in love. Second, having all the dialog in English is just not real enough. Maybe that style was fine, for 1977, but it would have been more enjoyable if two people from France would speak French to each other. Maybe subtitles were not in vogue in the late-70's... although George Lucas used them in Star Wars for various aliens. Third, the ending was more of an international film ending that a Hollywood ending and, since this was distributed by Twentieth Century Fox, I expected a Hollywood ending, but was denied. And why does Constantin care about Catherine anyway? I was scratching my head on that one. Fourth, Larry is schizophrenic. I like him, I hate him, he's romantic, he's a cad, he settles down, he fools around. I got whiplash trying to keep up. While Marie-France and Susan were technically great, the best actor in the film was Clu Gulager, playing his minor character role with perfect subtlety. It's too bad he wasn't part of the courtroom scene towards the end of the film. I almost laughed when I saw Sorrell Booke (Boss Hogg) with a French accent. The plot of the story was compelling though. Two stories, seemingly separate, yet you start to piece together how these stories will come together. This was very enjoyable. But can anyone tell me what title has to do with the film? This is a pet peeve of mine. Marketing titles that mean nothing in the story. This movie split it right down the middle for me, 5/10. Worth watching once, but probably never again.

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