without yo
- Length: 0:42
- Rating: ( ratings)
- Views:
- Author: klaashartzema
Tags: angel art brain collection free freedom funny hartzema klaas music planet pop series side stupit talk voice vote
music and drawings
El Perro Jedi
- Length: 0:51
- Rating: ( ratings)
- Views: 13
- Author: mandragora2008
Tags: jedi kapu sith star vader wars
This is my dog, his name is Kapuccino, but i call Kapu, and always play with something large than a sword, this one is a parody of a jedi. George Lucas take funny side of bussines, lol
Republicans HATE Community Organizers
- Length: 1:21
- Rating: ( ratings)
- Views: 14
- Author: TheLiberalWarrior
Tags: Community HATE Organizers Republicans
Republicans HATE Community OrganizersFunny side note for the religious,. Jesus was a organizer of the community he was inPilot was a governor....... yeah
Water Gun Down
- Length: 0:26
- Rating: ( ratings)
- Views: 14
- Author: fsuseminoles56
Tags: Andrew Bartlett Bullet Funny Gun Mason Nickelback Of Prank Sam Side Water
I told one of my friends to come over to play som b-ball but little did he know it was april fools day
The Funny F1!! :D
- Length: 3:31
- Rating: 4.50 (4 ratings)
- Views: 146' favoriteCount='1
- Author: Mbox2o0
Tags: Alonso F1 Fernando Formel1 Formula1 Funny Hamilton Kimi laugh Lewis Räikkönen
In This video I try to show yoz a bit the funny side of Formula1! Hope you enjoy!! Kimi Räikkönen, Michael Schumacher, Fernando Alonso, Heikki Kovalainen, Lewis Hamilton...
Jeremy Brett - Crazy Sexy Marvelous...
- Length: 1:8
- Rating: 4.93 (14 ratings)
- Views: 165' favoriteCount='5
- Author: rebeccawilde
Tags: Brett Crazy fun holmes Jeremy marvelous naughty sexy sherlock
... isn't he just? *laughs* Just a short video for the girls in the Jeremy Brett group who tell me they want to have more nice dreams. ;) Because he's Marvelous.... ohh and what a marvelous behind he had! And those come to bed eyes... WOOF! ;)I hope you would see the funny side Jeremy *hides* I of course own nothing!
Kawasaki is Back - Motorbike Advert
- Length: 0:37
- Rating: ( ratings)
- Views: 54
- Author: gag160
Tags: advert funny kawasaki Motorcycle speeding stunts zx-10r zx-12r zx-6r zx-7r zx-9r
Great Kawasaki advert with a real funny side!
The world's greatest youtube video
- Length: 0:29
- Rating: ( ratings)
- Views: 37
- Author: babyR34P3R
Tags: amazing call city could football greatest in is it liverpool man my opinion or sport stunning this video you youtubes
This is youtube's greatest bit of work, i put a whole 5 minute's into this so i hope you don't hate it and call me name but i would love it if you all praised me for this bit of work like you praise football players and teams like liverpool man u chelsea arsenal and manchester city or as now known bucks robinho. pls watch to the end and see the funny side lol
nick jonas--he does have a funny side
- Length: 1:56
- Rating: ( ratings)
- Views: 20
- Author: funkiweird
Tags: brothers jobros jonas nick
pix of nick...funny pix of nick j
Funny Bunny Elijah
- Length: 0:39
- Rating: ( ratings)
- Views: 35
- Author: ElijahAdonijahSpeaks
Tags: Elijah. Funny of Side The
The Funny Bunny Elijah
Truffaut -The Man Who Loved Women - subtled 13/13
- Length: 6:34
- Rating: 5.00 (1 ratings)
- Views: 53' favoriteCount='1
- Author: 21458922
Tags: Brigitte.Fossey Charles.Denner François.Truffaut Leslie.Caron Nelly.Borgeaud
Subtitled: l'Homme Qui Aimait les Femmes; Director: François Truffaut; Script: François Truffaut, Michel Fermaud, Suzanne Schiffman; Photo: Nestor Almendros; Music: Maurice Jaubert Cast: Charles Denner (Bertrand Morane), Brigitte Fossey (Geneviève Bigey), Nelly Borgeaud (Delphine Grezel), Leslie Caron (Véra), Geneviève Fontanel (Hélène), Nathalie Baye (Martine Desdoits), Sabine Glaser (Bernadette), Jean Dasté (Médecin) In a provincial cemetery, scores of women gather to attend the funeral of Bernard Morane, a serial philanderer who managed to seduce each one of them in the course of a very active love life. One of Bernard's lovers, Geneviève, a publisher, reflects on his extraordinary life -- a life which was totally dominated by his insatiable passion for women. Before his death, Bernard tried to make sense of his addiction by writing an autobiography, in which he recounts his never-ending series of amorous brief encounters. Witty, incisive and masterfully narrated, L'Homme qui aimait les femmes is one of François Truffaut's most entertaining films, but it is also one his most introspective and melancholic. As in many of Truffaut's works, it deals with the subject of a compulsive need for love, a need which can never really be satisfied. The film goes much further than its author had previously dared and portrays this need as a pathetic, tragically destructive obsessive urge which appears to serve no useful function. The wry comedy and playful innocence of Truffaut's earlier romantic comedies (such as Baisers volés) is less apparent, and has given way to a mood of tired pessimism and existentialist morbidity. Whilst L'Homme qui aimait les femmes is great fun to watch it is also profoundly moving, and that is what most sets it apart from Truffaut's other comic films. In common with most of Truffaut's films, L'Homme qui aimait les femmes has a strong autobiographical element, and indeed it is perhaps the film which most accurately reflects his own life. Truffaut's obsessive love for cinema was matched only by his love of women, something which the public were made aware of thanks to his high-profile liaisons with such stars as Françoise Dorléac, Catherine Deneuve, Isabelle Adjani and Fanny Ardant. After the failure of his marriage in the mid-1960s, Truffaut would never again enjoy a long-term relationship with another woman, and this was something which could account for the darkening mood of his later films, as well as providing the inspiration for this film. In L'Homme qui aimait les femmes, Truffaut makes no secret of the fact that he is telling his own story. He acknowledges as much with his momentary (ghost-like) appearance at the start of the film and by casting an actor (Charles Denner) who resembles him greatly in physique and personality. There can be little doubt that "the man who loved women" is none other than François Truffaut himself. It is his ability and willingness to draw on his own experiences which makes this such an effective and moving film. When it was released in 1977, L'Homme qui aimait les femmes was an obvious target for the feminist movement, but those who condemned the film for its perceived chauvinist slant were rather missing the point. The central character, Bertrand Morane, is not a shallow Don Juan who hops from one bed to another without a moment's remorse. He is a complex, traumatised soul who epitomises the very essence of the heterosexual male. The way women are portrayed in the film may be unflattering towards the fair sex but it is how he perceives them, as objects of desire which he must possess, at whatever cost. Far from being stereotypical, the film is surprisingly fresh and honest in its depiction of human sexuality, albeit harrowingly pessimistic in its conclusion. Perhaps the most extraordinary thing about L'Homme qui aimait is that although its subject is depressing the film is not. Truffaut's characteristic tongue-in-cheek comedy is in evidence throughout, providing an effective counterbalance to the film's darker moments. Whilst we are moved by the poignancy of his hero's plight, we can see the funny side, and this makes it a strangely uplifting film, as well as film with great humanity and poetry. In one of the best performances of his career, Charles Denner succeeds in making his character sympathetic and believable. What we see is not an egoistical womaniser but a victim who, like Truffaut himself, is consumed by a passion he can neither rationalise nor control. Despite its unconventional style and some mixed reviews, L'Homme qui aimait les femmes proved to be a great commercial success when it was first released in France and the United States. The film was remade in 1983 by Blake Edwards with Burt Reynolds in the lead role. As is often the case with American remakes, it woefully missed the point of the original film and ended up lacking both its charm and its depth.
Truffaut -The Man Who Loved Women - subtled 12/13
- Length: 6:29
- Rating: 5.00 (1 ratings)
- Views: 48
- Author: 21458922
Tags: Brigitte.Fossey Charles.Denner François.Truffaut Leslie.Caron Nelly.Borgeaud
Subtitled: l'Homme Qui Aimait les Femmes; Director: François Truffaut; Script: François Truffaut, Michel Fermaud, Suzanne Schiffman; Photo: Nestor Almendros; Music: Maurice Jaubert Cast: Charles Denner (Bertrand Morane), Brigitte Fossey (Geneviève Bigey), Nelly Borgeaud (Delphine Grezel), Leslie Caron (Véra), Geneviève Fontanel (Hélène), Nathalie Baye (Martine Desdoits), Sabine Glaser (Bernadette), Jean Dasté (Médecin) In a provincial cemetery, scores of women gather to attend the funeral of Bernard Morane, a serial philanderer who managed to seduce each one of them in the course of a very active love life. One of Bernard's lovers, Geneviève, a publisher, reflects on his extraordinary life -- a life which was totally dominated by his insatiable passion for women. Before his death, Bernard tried to make sense of his addiction by writing an autobiography, in which he recounts his never-ending series of amorous brief encounters. Witty, incisive and masterfully narrated, L'Homme qui aimait les femmes is one of François Truffaut's most entertaining films, but it is also one his most introspective and melancholic. As in many of Truffaut's works, it deals with the subject of a compulsive need for love, a need which can never really be satisfied. The film goes much further than its author had previously dared and portrays this need as a pathetic, tragically destructive obsessive urge which appears to serve no useful function. The wry comedy and playful innocence of Truffaut's earlier romantic comedies (such as Baisers volés) is less apparent, and has given way to a mood of tired pessimism and existentialist morbidity. Whilst L'Homme qui aimait les femmes is great fun to watch it is also profoundly moving, and that is what most sets it apart from Truffaut's other comic films. In common with most of Truffaut's films, L'Homme qui aimait les femmes has a strong autobiographical element, and indeed it is perhaps the film which most accurately reflects his own life. Truffaut's obsessive love for cinema was matched only by his love of women, something which the public were made aware of thanks to his high-profile liaisons with such stars as Françoise Dorléac, Catherine Deneuve, Isabelle Adjani and Fanny Ardant. After the failure of his marriage in the mid-1960s, Truffaut would never again enjoy a long-term relationship with another woman, and this was something which could account for the darkening mood of his later films, as well as providing the inspiration for this film. In L'Homme qui aimait les femmes, Truffaut makes no secret of the fact that he is telling his own story. He acknowledges as much with his momentary (ghost-like) appearance at the start of the film and by casting an actor (Charles Denner) who resembles him greatly in physique and personality. There can be little doubt that "the man who loved women" is none other than François Truffaut himself. It is his ability and willingness to draw on his own experiences which makes this such an effective and moving film. When it was released in 1977, L'Homme qui aimait les femmes was an obvious target for the feminist movement, but those who condemned the film for its perceived chauvinist slant were rather missing the point. The central character, Bertrand Morane, is not a shallow Don Juan who hops from one bed to another without a moment's remorse. He is a complex, traumatised soul who epitomises the very essence of the heterosexual male. The way women are portrayed in the film may be unflattering towards the fair sex but it is how he perceives them, as objects of desire which he must possess, at whatever cost. Far from being stereotypical, the film is surprisingly fresh and honest in its depiction of human sexuality, albeit harrowingly pessimistic in its conclusion. Perhaps the most extraordinary thing about L'Homme qui aimait is that although its subject is depressing the film is not. Truffaut's characteristic tongue-in-cheek comedy is in evidence throughout, providing an effective counterbalance to the film's darker moments. Whilst we are moved by the poignancy of his hero's plight, we can see the funny side, and this makes it a strangely uplifting film, as well as film with great humanity and poetry. In one of the best performances of his career, Charles Denner succeeds in making his character sympathetic and believable. What we see is not an egoistical womaniser but a victim who, like Truffaut himself, is consumed by a passion he can neither rationalise nor control. Despite its unconventional style and some mixed reviews, L'Homme qui aimait les femmes proved to be a great commercial success when it was first released in France and the United States. The film was remade in 1983 by Blake Edwards with Burt Reynolds in the lead role. As is often the case with American remakes, it woefully missed the point of the original film and ended up lacking both its charm and its depth.
Truffaut -The Man Who Loved Women - subtled 11/13
- Length: 10:0
- Rating: 5.00 (1 ratings)
- Views: 47
- Author: 21458922
Tags: Brigitte.Fossey Charles.Denner François.Truffaut Leslie.Caron Nelly.Borgeaud
Subtitled: l'Homme Qui Aimait les Femmes; Director: François Truffaut; Script: François Truffaut, Michel Fermaud, Suzanne Schiffman; Photo: Nestor Almendros; Music: Maurice Jaubert Cast: Charles Denner (Bertrand Morane), Brigitte Fossey (Geneviève Bigey), Nelly Borgeaud (Delphine Grezel), Leslie Caron (Véra), Geneviève Fontanel (Hélène), Nathalie Baye (Martine Desdoits), Sabine Glaser (Bernadette), Jean Dasté (Médecin) In a provincial cemetery, scores of women gather to attend the funeral of Bernard Morane, a serial philanderer who managed to seduce each one of them in the course of a very active love life. One of Bernard's lovers, Geneviève, a publisher, reflects on his extraordinary life -- a life which was totally dominated by his insatiable passion for women. Before his death, Bernard tried to make sense of his addiction by writing an autobiography, in which he recounts his never-ending series of amorous brief encounters. Witty, incisive and masterfully narrated, L'Homme qui aimait les femmes is one of François Truffaut's most entertaining films, but it is also one his most introspective and melancholic. As in many of Truffaut's works, it deals with the subject of a compulsive need for love, a need which can never really be satisfied. The film goes much further than its author had previously dared and portrays this need as a pathetic, tragically destructive obsessive urge which appears to serve no useful function. The wry comedy and playful innocence of Truffaut's earlier romantic comedies (such as Baisers volés) is less apparent, and has given way to a mood of tired pessimism and existentialist morbidity. Whilst L'Homme qui aimait les femmes is great fun to watch it is also profoundly moving, and that is what most sets it apart from Truffaut's other comic films. In common with most of Truffaut's films, L'Homme qui aimait les femmes has a strong autobiographical element, and indeed it is perhaps the film which most accurately reflects his own life. Truffaut's obsessive love for cinema was matched only by his love of women, something which the public were made aware of thanks to his high-profile liaisons with such stars as Françoise Dorléac, Catherine Deneuve, Isabelle Adjani and Fanny Ardant. After the failure of his marriage in the mid-1960s, Truffaut would never again enjoy a long-term relationship with another woman, and this was something which could account for the darkening mood of his later films, as well as providing the inspiration for this film. In L'Homme qui aimait les femmes, Truffaut makes no secret of the fact that he is telling his own story. He acknowledges as much with his momentary (ghost-like) appearance at the start of the film and by casting an actor (Charles Denner) who resembles him greatly in physique and personality. There can be little doubt that "the man who loved women" is none other than François Truffaut himself. It is his ability and willingness to draw on his own experiences which makes this such an effective and moving film. When it was released in 1977, L'Homme qui aimait les femmes was an obvious target for the feminist movement, but those who condemned the film for its perceived chauvinist slant were rather missing the point. The central character, Bertrand Morane, is not a shallow Don Juan who hops from one bed to another without a moment's remorse. He is a complex, traumatised soul who epitomises the very essence of the heterosexual male. The way women are portrayed in the film may be unflattering towards the fair sex but it is how he perceives them, as objects of desire which he must possess, at whatever cost. Far from being stereotypical, the film is surprisingly fresh and honest in its depiction of human sexuality, albeit harrowingly pessimistic in its conclusion. Perhaps the most extraordinary thing about L'Homme qui aimait is that although its subject is depressing the film is not. Truffaut's characteristic tongue-in-cheek comedy is in evidence throughout, providing an effective counterbalance to the film's darker moments. Whilst we are moved by the poignancy of his hero's plight, we can see the funny side, and this makes it a strangely uplifting film, as well as film with great humanity and poetry. In one of the best performances of his career, Charles Denner succeeds in making his character sympathetic and believable. What we see is not an egoistical womaniser but a victim who, like Truffaut himself, is consumed by a passion he can neither rationalise nor control. Despite its unconventional style and some mixed reviews, L'Homme qui aimait les femmes proved to be a great commercial success when it was first released in France and the United States. The film was remade in 1983 by Blake Edwards with Burt Reynolds in the lead role. As is often the case with American remakes, it woefully missed the point of the original film and ended up lacking both its charm and its depth.
Truffaut -The Man Who Loved Women - subtled 10/13
- Length: 9:57
- Rating: 4.00 (1 ratings)
- Views: 55
- Author: 21458922
Tags: Brigitte.Fossey Charles.Denner François.Truffaut Leslie.Caron Nelly.Borgeaud
Subtitled: l'Homme Qui Aimait les Femmes; Director: François Truffaut; Script: François Truffaut, Michel Fermaud, Suzanne Schiffman; Photo: Nestor Almendros; Music: Maurice Jaubert Cast: Charles Denner (Bertrand Morane), Brigitte Fossey (Geneviève Bigey), Nelly Borgeaud (Delphine Grezel), Leslie Caron (Véra), Geneviève Fontanel (Hélène), Nathalie Baye (Martine Desdoits), Sabine Glaser (Bernadette), Jean Dasté (Médecin) In a provincial cemetery, scores of women gather to attend the funeral of Bernard Morane, a serial philanderer who managed to seduce each one of them in the course of a very active love life. One of Bernard's lovers, Geneviève, a publisher, reflects on his extraordinary life -- a life which was totally dominated by his insatiable passion for women. Before his death, Bernard tried to make sense of his addiction by writing an autobiography, in which he recounts his never-ending series of amorous brief encounters. Witty, incisive and masterfully narrated, L'Homme qui aimait les femmes is one of François Truffaut's most entertaining films, but it is also one his most introspective and melancholic. As in many of Truffaut's works, it deals with the subject of a compulsive need for love, a need which can never really be satisfied. The film goes much further than its author had previously dared and portrays this need as a pathetic, tragically destructive obsessive urge which appears to serve no useful function. The wry comedy and playful innocence of Truffaut's earlier romantic comedies (such as Baisers volés) is less apparent, and has given way to a mood of tired pessimism and existentialist morbidity. Whilst L'Homme qui aimait les femmes is great fun to watch it is also profoundly moving, and that is what most sets it apart from Truffaut's other comic films. In common with most of Truffaut's films, L'Homme qui aimait les femmes has a strong autobiographical element, and indeed it is perhaps the film which most accurately reflects his own life. Truffaut's obsessive love for cinema was matched only by his love of women, something which the public were made aware of thanks to his high-profile liaisons with such stars as Françoise Dorléac, Catherine Deneuve, Isabelle Adjani and Fanny Ardant. After the failure of his marriage in the mid-1960s, Truffaut would never again enjoy a long-term relationship with another woman, and this was something which could account for the darkening mood of his later films, as well as providing the inspiration for this film. In L'Homme qui aimait les femmes, Truffaut makes no secret of the fact that he is telling his own story. He acknowledges as much with his momentary (ghost-like) appearance at the start of the film and by casting an actor (Charles Denner) who resembles him greatly in physique and personality. There can be little doubt that "the man who loved women" is none other than François Truffaut himself. It is his ability and willingness to draw on his own experiences which makes this such an effective and moving film. When it was released in 1977, L'Homme qui aimait les femmes was an obvious target for the feminist movement, but those who condemned the film for its perceived chauvinist slant were rather missing the point. The central character, Bertrand Morane, is not a shallow Don Juan who hops from one bed to another without a moment's remorse. He is a complex, traumatised soul who epitomises the very essence of the heterosexual male. The way women are portrayed in the film may be unflattering towards the fair sex but it is how he perceives them, as objects of desire which he must possess, at whatever cost. Far from being stereotypical, the film is surprisingly fresh and honest in its depiction of human sexuality, albeit harrowingly pessimistic in its conclusion. Perhaps the most extraordinary thing about L'Homme qui aimait is that although its subject is depressing the film is not. Truffaut's characteristic tongue-in-cheek comedy is in evidence throughout, providing an effective counterbalance to the film's darker moments. Whilst we are moved by the poignancy of his hero's plight, we can see the funny side, and this makes it a strangely uplifting film, as well as film with great humanity and poetry. In one of the best performances of his career, Charles Denner succeeds in making his character sympathetic and believable. What we see is not an egoistical womaniser but a victim who, like Truffaut himself, is consumed by a passion he can neither rationalise nor control. Despite its unconventional style and some mixed reviews, L'Homme qui aimait les femmes proved to be a great commercial success when it was first released in France and the United States. The film was remade in 1983 by Blake Edwards with Burt Reynolds in the lead role. As is often the case with American remakes, it woefully missed the point of the original film and ended up lacking both its charm and its depth.
Truffaut -The Man Who Loved Women - subtled 9/13
- Length: 9:58
- Rating: 5.00 (2 ratings)
- Views: 73
- Author: 21458922
Tags: Brigitte.Fossey Charles.Denner François.Truffaut Leslie.Caron Nelly.Borgeaud
Subtitled: l'Homme Qui Aimait les Femmes; Director: François Truffaut; Script: François Truffaut, Michel Fermaud, Suzanne Schiffman; Photo: Nestor Almendros; Music: Maurice Jaubert Cast: Charles Denner (Bertrand Morane), Brigitte Fossey (Geneviève Bigey), Nelly Borgeaud (Delphine Grezel), Leslie Caron (Véra), Geneviève Fontanel (Hélène), Nathalie Baye (Martine Desdoits), Sabine Glaser (Bernadette), Jean Dasté (Médecin) In a provincial cemetery, scores of women gather to attend the funeral of Bernard Morane, a serial philanderer who managed to seduce each one of them in the course of a very active love life. One of Bernard's lovers, Geneviève, a publisher, reflects on his extraordinary life -- a life which was totally dominated by his insatiable passion for women. Before his death, Bernard tried to make sense of his addiction by writing an autobiography, in which he recounts his never-ending series of amorous brief encounters. Witty, incisive and masterfully narrated, L'Homme qui aimait les femmes is one of François Truffaut's most entertaining films, but it is also one his most introspective and melancholic. As in many of Truffaut's works, it deals with the subject of a compulsive need for love, a need which can never really be satisfied. The film goes much further than its author had previously dared and portrays this need as a pathetic, tragically destructive obsessive urge which appears to serve no useful function. The wry comedy and playful innocence of Truffaut's earlier romantic comedies (such as Baisers volés) is less apparent, and has given way to a mood of tired pessimism and existentialist morbidity. Whilst L'Homme qui aimait les femmes is great fun to watch it is also profoundly moving, and that is what most sets it apart from Truffaut's other comic films. In common with most of Truffaut's films, L'Homme qui aimait les femmes has a strong autobiographical element, and indeed it is perhaps the film which most accurately reflects his own life. Truffaut's obsessive love for cinema was matched only by his love of women, something which the public were made aware of thanks to his high-profile liaisons with such stars as Françoise Dorléac, Catherine Deneuve, Isabelle Adjani and Fanny Ardant. After the failure of his marriage in the mid-1960s, Truffaut would never again enjoy a long-term relationship with another woman, and this was something which could account for the darkening mood of his later films, as well as providing the inspiration for this film. In L'Homme qui aimait les femmes, Truffaut makes no secret of the fact that he is telling his own story. He acknowledges as much with his momentary (ghost-like) appearance at the start of the film and by casting an actor (Charles Denner) who resembles him greatly in physique and personality. There can be little doubt that "the man who loved women" is none other than François Truffaut himself. It is his ability and willingness to draw on his own experiences which makes this such an effective and moving film. When it was released in 1977, L'Homme qui aimait les femmes was an obvious target for the feminist movement, but those who condemned the film for its perceived chauvinist slant were rather missing the point. The central character, Bertrand Morane, is not a shallow Don Juan who hops from one bed to another without a moment's remorse. He is a complex, traumatised soul who epitomises the very essence of the heterosexual male. The way women are portrayed in the film may be unflattering towards the fair sex but it is how he perceives them, as objects of desire which he must possess, at whatever cost. Far from being stereotypical, the film is surprisingly fresh and honest in its depiction of human sexuality, albeit harrowingly pessimistic in its conclusion. Perhaps the most extraordinary thing about L'Homme qui aimait is that although its subject is depressing the film is not. Truffaut's characteristic tongue-in-cheek comedy is in evidence throughout, providing an effective counterbalance to the film's darker moments. Whilst we are moved by the poignancy of his hero's plight, we can see the funny side, and this makes it a strangely uplifting film, as well as film with great humanity and poetry. In one of the best performances of his career, Charles Denner succeeds in making his character sympathetic and believable. What we see is not an egoistical womaniser but a victim who, like Truffaut himself, is consumed by a passion he can neither rationalise nor control. Despite its unconventional style and some mixed reviews, L'Homme qui aimait les femmes proved to be a great commercial success when it was first released in France and the United States. The film was remade in 1983 by Blake Edwards with Burt Reynolds in the lead role. As is often the case with American remakes, it woefully missed the point of the original film and ended up lacking both its charm and its depth.
Page: 1 of 47