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Hold-up à Saint-Trop’ (1963)
Character: N/A
An unscrupulous young man uses his "fiancée", who haunts gambling halls, to recruit the collaborators he needs to pull off his scams. When these unlucky gamblers are driven to dishonor by debts, he has his fiancée lend them money, and the next day he has them write checks, which of course bounce. All they have to do then is walk straight ahead, her charm encouraging them to do so. But the carefully planned hold-up at the home of a wealthy American tax dodger is a fiasco. The thief finds the safe already emptied by the very man who reported the bargain. But the unfaithful informer is fooled in turn: the loot he was about to take away in an Air-France suitcase is innocently snatched by a group of nuns who take the wrong luggage and unknowingly take off with 500 million dollars.
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Le Temps D'Anaïs (1987)
Character: Serge Nicolas
An apprentice writer with an odd attitude is arrested for killing his girlfriend's lover.
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Le Gorille a mordu l'archevêque (1962)
Character: Bezoy
The directors of a company threatened by a railroad construction project in Africa decide to have the General Secretary of the Franco-African consortium killed. Géo Paquet, known as "Le Gorille", a DST spy, attempts to infiltrate the gang.
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Merci Natercia (1960)
Character: (uncredited)
A wealthy widow, Natercia, helps Alain, a poor young man, to put together the film he plans to make. They decide to pool their resources to make the project a reality. At the first screening, Natercia realizes that Alain no longer needs her.
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Le Saint mène la danse (1960)
Character: Un voyou
On his journey through USA, Simon Templar, alias 'the Saint', landed in Palm Springs. After arrival, Simon is offered a job as a bodyguard of a millionaire who is threatened with death.
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Le charme de l'ambiguïté (1974)
Character: Lui-même (Théâtre de l'Alcazar)
From transvestites to transformers, we will follow the trail that will lead us in different and famous Parisian music-halls, such as the mythical Alcazar of Paris, La Grande Eugène. Whether they are below or beyond their character, often these men who are looking for themselves look at life with the humor of despair. Why this need to "transform" themselves? Why is it always the men who cross-dress and not the women? Why did the public flock to these shows in the 1970s and 1980s? Interpretations of famous characters such as Diana Ross, Josephine Baker, Billie Holiday, the Peter Sisters, the Andrew Sisters, Zizi Jeanmaire, Judy Garland, Sarah Bernhardt, among others, contribute to making this musical document an essential testimony of this era.
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D'où viens-tu, Johnny ? (1963)
Character: Tardivet
Without knowing it, Johnny, a young rock musician, finds himself involved with a Parisian drug gang. Realising he is being set up, he throws the drugs into the Seine and takes refuge in the Camargue with his family and his fiancée, Gigi. Meanwhile, the dealers are hot on their heels.
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Le Désert de Pigalle (1958)
Character: Raymond
A young priest works as a barman in a Pigalle cafe in Paris. He tries to prevent the women there to prostitute themselves....
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Le Gorille vous salue bien (1958)
Character: Valério
Géo Paquet, aka The Gorilla, breaks from jail. Now an escaped convict, the elite agent must infiltrate a dangerous gang working for a foreign embassy as their leader, a spy enjoying diplomatic immunity, can't be arrested by regular police.
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Strip-Tease (1963)
Character: Self
In order to pay the rent, a young ballet dancer living in Paris accepts a job in an upmarket strip club. She soon devises a unique act that captivates audiences and catapults her to stardom.
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Gas-oil (1955)
Character: Un gangster
A trucker encounters a dead body on the road home. He reports the incident to the police, who suspect that Jean was responsible for the death, and his new truck is impounded. To make matters worse, the man's widow accuses him of having robbed her husband, and a gang of sinister crooks are also harassing him.
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La tercera puerta (1976)
Character: Self
One of the first (and perhaps therefore ambiguous) approaches to homosexuality in Spain at the time. The film narrates in cinematographic form the problem of the third sex, its justification and its existence within a real environment that is society itself. Two parallel worlds are shown to us; one, the hard and professional life of some artists who try to put on a 'music-hall' show. The other world is independent but it shows us what the life of an old glory was like, of an old man who was an artist in his time. Comparing one era with another is the intention of the film and ultimately its plot.
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Saint-Tropez Blues (1961)
Character: François Desroches
With her parents away, Anne-Marie drops her studies to spend eight days in Saint-Tropez with her friend Jean-Paul. They are soon caught up in the Saint-Tropez whirlwind. Jean-Paul is seduced by a wealthy woman while Anne-Marie ends up alone with a young man she meets along the way.
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Cocagne (1961)
Character: N/A
As the driver of a garbage truck in Arles, Marc-Antoine leads a quiet life with his wife, Mélanie, and their two children. When Amédée's "Fanny" is stolen from the bouliste club, Marc-Antoine offers to repaint another one. As soon as the work is finished, he becomes a local celebrity and, intoxicated by his new-found fame, leaves his family to go with Hélène, the young waitress, to his friend Septime's house in the Camargue to take up painting. Eventually, Marc-Antoine realizes that he is dissatisfied and that his success seems dishonest. He realizes that happiness awaits him with his wife, children and friends, and resumes his simple life without remorse.
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Trois jours à vivre (1958)
Character: Un comédien
Struggling actor Simon witnesses a murder; he didn't see the killer, but that doesn't stop him from claiming that he did in order to get his name into the papers. Sure enough, the murderer targets him as his next victim. Our hero is temporarily rescued by Jeanne, a fellow aspiring actress who has always had a crush on him.
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Le Dos au mur (1958)
Character: Paul
Rich industrialist Jacques Decret learns his wife Gloria is having an affair with a young actor. For revenge, he bombards her with anonymous letters, convincing her that her lover is the culprit while Gloria desperately seeks a way out.
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