Les félins (1964) watch online HD

I can tell why Delon and Fonda were the wet dreams of the previous generation but nobody ever mention Lola Albright to me. She is exquisite, she exudes an European kind of thing and yet she's totally American. A cross between Doris Day and Ava Gardner. The film is a delight. A sexy thriller soaking in a sticky, tingly atmosphere. I've seen the English and the original French version. Go for the French, the adaptation of the dialogue in English is silly and pretentious. Although I don't like the idea of remakes this is one lends itself beautifully for a juicy rehash. I have a brilliant idea about how to update it, not to mention, how to cast it and as far as a director is concerned, I know the perfect one. I, of course, don't intend to reveal a thing here, you may steal the idea and strike a deal with Miramax.

A story of twists and turns with a sticky sexual link. Jane Fonda and Alain Delon are reason enough to enjoy this French noir but there is more. Lola Albright for instance. Wow! She's a retro futuristic femme fatale. Then Rene Clement, the director of "Purple Noon" knows how to keep us on the edge of our seats without sacrificing that elegant center that makes the whole think work beautifully. "Joy House" was made a few short years after Delon starred in Luchino Visconti's "Rocco And His Brothers" This were Delon's superstar years and he uses the power of his stardom to confuse us and tease us to death. I'm not going to spoil it for you so I don't intend to reveal it but it has one of those endings that's not just fun and clever but totally unexpected. A very enjoyable semi-precious gem.

This movie is wonderful! Very suspenseful, sexy and well acted. Jane Fonda is great and Alain Delon just freezes the screen with his coolness. Action packed and full of twists and turns. Get this movie if you can! You will not guess the ending. If you like cool cars, great B&W shots, 60's seduction and French movies in general this is the one for you. Everything that was missing from THE TALENTED MR. RIPLEY is in this forgotten gem.

A French playboy named Marc(Alain Delon) seduces the spouse of an American gangster who sends his hoodlums after him . Marc on the run from the mobsters terminates on the French Riviera . He hides out by becoming the chauffeur to rich heir named Barbara(Lola Albright) at the Ghotic château that is also where he knows her niece(Jane Fonda)working as servant and continuously tries to seduce him. Meanwhile the goons have got his whereabout.

This intriguing film also titled¨ The love cage¨ contains suspense, noir drama, romance,thrills and splendid acting. Strong main cast formed by Alain Delon, actor most used in Rene Clement films (Blazing sun, Joy of living, Is Paris burning ?), furthermore the American actresses as an attractive mature Lola Albright and a gorgeous Jane Fonda who is always hot for him. As trivia to detach the secondary appearance of George Gaynes, the famous commandant Lassard from Academy Police series. Thrilling and exciting script based on novel titled ¨Joy house¨ by Day Keene. However the argument is a little complicated and full of plot twists. Adequate cinematography in white and black by magnificent cameraman Henry Decae. Atmospheric soundtrack with catching leitmotif by Lalo Schifrin, a classical musician from the 60s and 70s, even today composing . The picture is well realized by Rene Clement . He's an expert on thrillers(Baby sitter, House under the trees, Rider on the rain) and WWII films(Is Paris burning?,The damned, Battle of the rails), resulting to be his best one titled ¨Forbidden games¨. Rating: Good and better than average. This nice movie will appeal to Alain Delon and Jane Fonda fans.

I never saw the English dubbing of this film, but I saw the French original and it is superlative. The music by Lalo Shiffrin is absolutely groundbreaking and a promise of "missions impossible" to come. The photography and editing only give Godard's "Breathless" a knowing passing reference but are way ahead of anything the so-called New Wave (with its stuttering scripts, faulty story-telling, amateur production values and intellectual pretensions) could ever come up with. You'll think you're watching outtakes of "A Hard Day's Night" and the film would still be better than most of today's US suspense-actioners if it hadn't been for the invention of the steadycam. You haven't truly lived until you have experienced Jane Fonda's French-speaking virginal sex kitten act. A taut thriller, extremely modern, from a filmmaker who was always synonymous with the principle of "quality first". Like many French film classics, it is inspired by those oh-so-exotic British/US "romans noirs" (crime novels). And it is a statement on the cold fact that women are about to take over the world and that those lovely little menzipoos can only be relied on for violence and sex.

Marc a French playboy has committed the ultimate sin, he beds the wife of a criminal lord in New York. With his injured pride as a cuckold, the man orders to bring him his head on a silver platter so he can enjoy his revenge and to satisfy his ego. Trouble is Marc has decamped New York and now is playing on the French Riviera. The men sent to get him locate him, but Marc is able to escape, finding refuge among the poor being fed at a local church, where he is not going to be found.

Marc fates changes when Barbara, one wealthy American woman comes to the mission where he has been staying accompanied by her cousin Melinda, whom she uses as her personal maid. Through Melinda, Barbara offers Marc a job at her rich villa as a chauffeur. Thinking it is the best solution to his problems, Marc accepts the invitation, but little does he know about what awaits him at Barbara's palatial home which hides a well kept secret, one in which Marc will play a principal role.

"Les felins" is based on an American pulp fiction paperback, written by Day Keene, an obscure author whose work is hardly known these days. The great Rene Clement knew a thing, or two, about making films and saw the potential of this story for his reunion with Alain Delon after their success on "Plein soleil", a triumph of great artistic proportions. Here Mr. Clement worked with Pascal Jardin and Charles Williams in a screenplay that captured the essence of Mr. Keene's novel.

Working with the great cinematographer Henri Decae, a favorite of a lot of the New Wave directors, Mr. Clement gets the proper atmosphere for the film. Lalo Schifrin contributed with a jazzy score that serves the movie well. Mr. Clement casting of the two principal female roles went to two American actresses, Jane Fonda, who was starting in French movies, as Melinda, and the wonderful Lola Albright, playing the deceiving Barbara, a woman who is hiding a deep secret. Alain Delon is Marc, the gigolo being sought by the Americans in one of his best screen appearances, in a film long forgotten.

The director also brought a few American actors to play the heavies in their unusual style. We see Carl Studer, Sorrell Brooke and George Gaynes among the supporting cast, in a film that should not be missed by fans of the excellent Rene Clement.

After seducing the wife of a powerful mobster in New York, the bon- vivant wolf Marc (Alain Delon) travels to the French Riviera. However the mobster orders his gangsters to travel to France and bring Marc's head to him. They kidnap Marc but he succeeds to flee. Without any money, he hides in a mission for poor people. While donating food and supplies to the mission, the wealthy widow Barbara (Lola Albright) and her niece and housemaid Melinda (Jane Fonda) meet Marc and she hires him to be her chauffeur. He moves to a castle-like mansion and believes Barbara has hired him to have sex with her while Melinda falls for him. But Marc decides to investigate the death of Barbara's wife and discloses a hidden secret and that his life is in danger. What will Marc do?

"Les félins" is a suspenseful neo-noir film by the fantastic French director René Clément. The screenplay has many twists and two femme fatale with a great story. The only but is the adorable and irresistible Jane Fonda in the role of Melina. Marc (Alain Delon) is a handsome man but how could he resist to the sexy Melinda (Jane Fonda) in the top of her beauty? Better of a less sexy and beautiful actress in this role. My vote is seven.

Title (Brazil): "Jaula Amorosa" ("Love Cage")

...only "Plein Soleil" ("Purple noon" -the talented M.Ripley first version- ,a first Delon/Clement collaboration ,is superior.

The director's other thrillers were marred by unbearable metaphysical pretensions ("La Maison Sous les Arbres" " la Course du Lièvre à Travers Champs" "Babysitter" ...)which the use of American actors did not help.

A black and white film ,a strange choice for a story which takes place in a luxury mansion on the Cote d'Azur ,the cinematography is in direct contrast to that of "Plein Soleil" .Whereas the former work was often filmed in open air ,at sea,in "les felins " ,we almost never go out of the Fonda/Albright's place.The screenplay is absorbing ,a la Boileau-Narcejac (who wrote "Diabolique" and "Vertigo" ) and the suspense is sustained throughout the story. (I particularly dig the scenes with the car at the end).

It was actually René Clément's last good movie.All that follows is virtually disposable.

Despite the naysayers, I count "Les Felins" among my all-time favorites. Hey, we're talking of a thriller that was made over 40 years ago ! Lalo Schiffrin's introductory bass riff is as suspenseful as it is masterful.

The actors may not have been at their best in 1964 but IMHO they still did a helluva good job with the plot (French Riviera playboy Delon seduces Mob boss' wife; he tells his men, "Bring me back his head!"; Delon is forced into hiding and ends up a prisoner of the sexy ladies who help him escape the Mob.

I have not seen the English version but would like to get a copy of the French version with English subtitles.

Handsome gigolo in Paris, on the run from murderous thugs hired by the husband of one his conquests, takes refuge at a religious shelter; there, he meets and becomes employed by a wealthy, mysterious widow who lives in a neo-gothic castle on the Riviera. Why she picked him to be her chauffeur--and why she orders two identical uniforms for him--is just part of the mystery. Director René Clément keeps this skeletons-in-the-closet adaptation of Day Keene's novel twisty and engrossing, with incredulous Alain Delon in constant jeopardy. Lola Albright is intriguing as his benefactor, while young Jane Fonda is wry and funny as Lola's sex-starved cousin in lust with Delon (who struggles with his English, though this is shrugged off with amusing swagger). Flashy technique, expressive black-and-white cinematography by Henri Decaë, lovely score by Lalo Schifrin, and many clever turns of the screw. *** from ****

Les Felins is a very advance for it's time with uniqueness, the modern theme and twisting multi-plots. It's been so very underrated but in a way this protected it from being commercially spoilt, which had kept it's class and intelligence.

The film is a marriage of french elegant dark film and new wave raw but done in a so stylish but not too arty, in a very balance cinematic intrigue and pleasure. With the surprising humours, quirky action and thriller drama between characters.

Almost all the characters have great presence, acting and perfectly cast. Even the mafia gang (like the 60's rat pack) hunting down Marc have such an appeal to suave henchmen.

Example the main ones are Alain Delon as Marc (gigolo, living off women, fugitive from American mafia, while in hiding he is being a seducer chauffeur)- Delon himself cannot be refuted to be perfect epitomize of magnetic don juan. Lola Albright as Barbara (philanthropist, cougar, millionaires, mistress of the estate)- Albright even at middle age can rival hotness in class, elegance and beauty any top vogue models. Jane Fonda as Melinda (charity worker, niece of Barbara, playing the maid, love struck of Marc)- Fonda is such a great pleasing to the eyes of any male seeing her at this age and her very alluring attractive female hotness. Overall the three of them have such appeal of sexiness that it actually transpire into cinematic pleasure, on top of their top acting abilities.

Rene Clements have really captured a great almost perfect flow of how this story evolve. He had few modern for it's time elements (not to mention objects)that created distinct actions, dialogue, close interactions and developments of suspense to antithesis to demise of thriller story.

The critic to this is that you will wish it was also released dubbed in English, the film was in colour and added more scenes.

A great potboiler from René Clément starring Alain Delon as a gigolo on the run from a bunch of goons out to kill him. He ends up taken in by wacky Lola Albright and her "cousin" Jane Fonda. The two women are never what they seem to be and soon Delon is in more trouble than he ever expected. A fun movie full of colorful characters, insane dialog and some of the hippest music (courtesy of Lalo Schifrin). Clément's direction is stellar and the cinematography by Henri Decaë is first rate. It helps that the film is shot in the south of France. Delon has a lot of chemistry with both Fonda and Albright. This is probably Fonda's best acting up to this point and it's heartening to see the under-utilized Albright given such a substantial role. She's a twisted mix of Grace Kelly & Mrs. Danvers. The title is decidedly ironic.

Alain Delon has the perfect role as the ne'er do well young man, Lola Albright (sad & wonderful in LORD LOVE A DUCK) has commanding screen presence, and Jane Fonda is youthful beauty personified. Ms. Fonda was never more gorgeous than in this creepy little French Film. Those eyes. Nice job with the French language as well. Cool house. Interesting quirky musical score by Lalo Shifrin. Great B/W cinematography and strange "plot".

A 6 out of 10. Best performance = Jane Fonda. It's hard to describe what goes on in this one, but I couldn't get it out of my head for days. Nice atmosphere.

I have read someone talking about rené clair - hahaha ! The director is rené clement and he's made lot of classic, lot of wonderful movies as "jeux interdits", "la bataille du rail", "plein soleil" and this one, in the middle of the french cinema golden age. People talking about rené clair instead of rene clement could not be reliable at all - or john huston and john ford are the same person. Brainless often speaks like brainfull... So, here we go, Delon needs to hide and these 2 women accept to hide him from police in their beautiful house - but, what u see is not what is real, like Hitchcock used to do to fool his audience, and soon you'll learn, as the poor delon learns, that these charming ladies are worse than the police... Women here are pretty modern, and men are toys for them, toys u can tear apart, toys u can leave in a room til u need them, men slaves to their desire and will. And what was at the beginning just a hide and seek with the police become a nightmare and a jail for a man totally under control of 2 women - like women had been toys for men for centuries... And this is the modern part of the movie, the raising power of women in the world and the unability for men to take back the control of their lives. Delon is handsome as the devil, but a devil ruined by women, with no escape, and what was only a runaway movie becomes a nightmare movie - watch it til the end ! Without hesitation --> 9/10

"Joy House" (aka "Les Félins") is a French suspense film that really sneaks up on you. That's because about 70% through the film, I was rather bored. However, late in the picture, everything came together so well--so perfectly--that you can't help but really admire the film.

This film begins with a group of paid killers capturing a schnook (Alain Delon) who has apparently ticked off the boss. However, despite beating the snot out of the guy, he's able to escape and desperately looks for a place to hide. He wanders into the lives of two ladies (Jane Fonda and Lola Albright) and they help him hide and give him a job as a chauffeur. This is a bit strange and it's all chalked up to the ladies being full of love of the poor and destitute. However, through the course of the film, Delon picks up on some clues that PERHAPS these women aren't such wonderful benefactors--and he is being kept their for nefarious reasons. However, if he leaves, the killers will find him and dispatch him. What's next?!

In many ways, this film is very reminiscent of a later Delon film, "Diaboliquement Vôtre". Both have wonderful endings and both involve Delon being held in a mansion due to ulterior motives. So, in a way, this later film is a bit derivative--but still good. Both, however, feature AMAZING endings--deliciously twisted and very satisfying.

By the way, one of the killers is played by Sorrel Booke--the guy who later played 'Boss Hogg' on "The Dukes of Hazard". Also, the DVD case really makes "Joy House" look like a terrifically sexy film. It has its moments, but really is a suspense film not a film with a lot of skin.

If you can hang in til the climax, you'll be rewarded with some surprise twists, and a predictable ending. Otherwise it's a plodding, average mystery film with nice on location filming of the french Rivera. Beautiful Lola is terrific as a mysterious lady, and Jane is a sexy doll(not one of her better performances, though), but Delon is a surprisingly wooden leading man.

I love Jane Fonda and Alain Delon, and have seen several of their movies, so I just HAD to seek this one out. It was interesting enough, thankfully not too overlong, at just a little over 90 minutes, but dear god, that plot! I really tried to follow it but after awhile just kind of gave up. It's a ridiculous story but still intriguing enough if you like these 60s French gems. Delon's performance isn't great but who cares, he's Alain Delon, just look at his face. And Jane Fonda....oh wow, I believe this was the beginning of her journey into making sultry French films. I love Jane but this isn't her best performance or French movie. Check out "The Game is Over", it's much better than this and Jane sparkles in it. But you should have fun with this one. Now all they need to do is release "Circle of Love", the only one of Jane's French films that isn't available.

There's a good thriller hidden somewhere in all the messiness of "Joy House," but the film is ruined by the truly terrible performance of Alain Delon (his first in English, perhaps - which would partly explain it) and the mediocre script, which might have worked better in French since some of the English dialogue is very awkward. Delon's character is so obnoxious and makes so little sense that impossible to care about him one way or the other. Jane Fonda is fun as a young vixen who's more unbalanced that you might think, and Lola Albright does well under the circumstances as a mysterious, manipulative widow. Rene Clement's direction is frantic and sometimes incoherent, as is the plot. We never really do find out who Fonda's character really is, and her relationship to the widow.

I'm not a huge fan of "Plein Soleil" ("Purple Noon"), but that is a masterwork next to this. Clement's talent as a director had clearly dissipated by the early 60's. His subsequent films to "Joy House" are even less interesting.

MST 3000 would have a field day with this muddled mess! Convoluted, incoherent, and embarrassing! The plot revolves around sexy international playboy Alan Delon (who's a thug), underrated Lola Albright (who's lonely), and a stunningly beautiful Jane Fonda (who's horny). Somewhere in between there's a shrunken head, gorgeous French Riviera scenery, two-way mirrors, and a man lurking around in the movie's seaside Gothic mansion.

I don't know what's going on here except director Rene Clair did a fine job with Purple Noon (remade as The Talented Mr. Ripley) and you should rent that instead. However, you won't see pre-feminist Jane Fonda trying to seduce Corridor Man by doing 'the Surf' in a strapless bra and slip (dig that crazy music!) or future Dukes of Hazzard's Boss Hogg play the villian.

Marc (Alain Delon) is a womanizer. He womanizes a New york gang's wife, and royally gets them angry. He flees to France, but the gangs are after him. They catch up to him, but in their encounter, they're speaking French. I can understand them speaking Italian, but New York gangs speaking French ? Jane Fonda's voice is also dubbed over.

That's the only part I'd like to nit pick about this movie. The rest is superb. Alain Delon, and Jane Fonda are absolutely beautiful.

This kind of gorgeous looking actors don't exist anymore. The movie is classy in the way its made. It doesn't have any high tech in it, but has gorgeous lifestyle in its place. I really think we made the wrong choice in our lifestyle. We need to bring back more of the gorgeous lifestyle like people in the '60s had.

Don't miss this movie, because it's just great.

After forking over big bucks for this hard-to-find DVD, I tried several times (unsuccessfully) to get through it without falling asleep. From the reviews I expected a taut, cool thriller. No such luck. It soon became an unconvincing, muddled mess with not an ounce of suspense. Lola Albright looks fantastic; Why she wasn't a bigger star is the real mystery here. Jane Fonda (in her pre-feminist/militant days) looks the best she ever did. Alain Delon's appeal is lost on me. All three could use a few lessons from The Actor's Studio. The Lalo Schifrin score tries hard, but even at its noisiest couldn't rouse me from my semiconscious state. Anyone wanna buy a used DVD?

Rene Clement again directs Alain Delon, this time in Joy House, a 1964 film that covers a lot of genres - thriller, noir, suspense, and romance.

Delon plays a criminal on the run. He enters a place for homeless people on the Riviera and two women serve soup there, played by Lola Albright and Jane Fonda.

The women bring him to Albright's mansion -- she's a wealthy woman who works at saving people. Fonda is her cousin and falls hard for Delon and tries to seduce him. Meanwhile, someone is trying to poison him and his former gang knows where he is and is out to get him.

Interesting film, with the highly underrated Lola Albright giving an excellent performance as a beautiful but tough woman. Fonda, who says her French wasn't very good, is excellent as well as gorgeous. Of course Delon was better looking than both of them, and while his character is attracted to the Albright character, I don't know why he wasn't attracted to Jane.

The end of this film is wild and really brilliant.

The film explores the idea of prison. Sometimes even without bars, you can be a prisoner.

Initially I had thought 1964's Joy House was supposed to be a rip-roarin' Comedy (and a lame one at that). But I quickly found out that it was a dead-serious Thriller.

Perhaps I was in the wrong frame of mind when I sat down to watch this picture, but, whether a Comedy or a Thriller, I thought Joy House stank in the worst possible way imaginable.

Set in the ritzy district of the French Riviera (and directed by French film-maker, Rene Clement), I found Joy House to be a piece of empty-headed fluff that might have benefited some had it been filmed in colour.

Joy House stars shallow, French actor (and all-round pretty-boy), Alain Delon, who (without his looks) couldn't act his way out of a wet, paper bag, even if his life depended on it.

This film's cast also included 2 big-name, American actresses, Jane Fonda and Lola Albright. At first I thought these women's characters were a lesbian couple, but that assumption soon proved to be an error.

Since this was a French production (with English subtitles), both Fonda and Albright's voices were dubbed (badly) and this annoyance, of course, proved to be yet another strike against this dimwitted picture that steadily began to grate on my nerves, big-time.

From my perspective, Fonda and Albright's characters were truly sickening. These 2 bitterly jealous women (living under the same roof) were both vying for the attentions of the same man (Delon) and, as a result, they came across as being nothing but ruthless, calculating sluts.

Joy House's story has small-time con-man/gigolo, Marc (Delon) on the run from a group of bungling hit men. Marc takes refuge in the posh mansion of a wealthy widow (Albright) who lives there with her cousin (Fonda).

It's from this point (when Marc encounters these 2 women) that Joy House's already faltering story completely falls to pieces and lost my overall interest, altogether.