During a thunderstorm, Greek alcoholic Maria, her English husband, Paul, their small daughter Judith, and traveling companion Claire seek refuge overnight in a small Spanish hotel. While drinking Maria observes Paul and Claire embracing on a balcony and is strangely excited. Simultaneously she notices crouching on the rooftop Rodrigo, a young workman who has that day surprised and killed his wife and her lover. Filled with sympathy, the alcoholic drives the murderer to a deserted spot outside the village, promising to spirit him across the border on the morrow. When she returns the next day, accompanied by her entourage, Maria discovers Rodrigo dead in a pool of blood. Frustrated by Paul’s continued devotion to his wife, Claire blames Maria’s intervention for the worker’s death. The disconcerted wife proclaims her indifference to her husband. That evening Maria abandons Paul and Claire in a cafe; they follow her, but despite their repeated calls, she does not answer. —TCM
Jules Dassin was an Academy Award-nominated director, screenwriter and actor best known for his films Rififi (1955), Never on Sunday (1960), and Topkapi (1964).
He was born Julius Samuel Dassin on 18 December 1911, in Middletown, Connecticut, USA. He was one of eight children of Russian-Jewish immigrants, Samuel Dassin and Berthe Vogel. Young Dassin grew up in Harlem, and he attended Morris High School in the Bronx, graduating in 1929. After taking acting classes in Europe, he returned to New York. In 1934, he became and actor with the ARTEF Players (Arbeter Teater Farband), and was a member of the troupe until 1939. Dassin played character roles in Yiddish, mainly in the plays by Sholom Aleichem. But upon discovering “that an actor I was not,” he switched to directing and writing. At that time, he joined the Communist Party of the United States, but left the party in 1939, he said, disillusioned after the Soviet Union signed a pact with Adolf Hitler… read more
10:30 P.M. Summer (1966)
Jules Dassin has directed and collaborated with Marguerite Duras for this confection which I was ready to swear was from the pen of a writer of women… read review