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Redundant and unnecessary.

By the time the dramatic fireworks start popping off, each one feels earned.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

This movie feels like it was made purely to piss off people who want good shows

Plot: "Set against the rugged beauty of the Brittany seacoast, it tells the story of a young girl whose lonely isolation under the watchful eye of her stern and bitter father is abruptly shattered by the arrival of a seductive fugitive from the law."'Rapture' is a coming-of-age tale, a dark Gothic fantasy, a romance, a bit of a melodrama, and maybe a few other things. Its ability to stay clear from clichés despite the familiar dramatic framework alone is astonishing, which makes the film ultimately pretty uncategorizable, not to say anything about how sensible and dare I say perfect everything else is about this relatively layered production that feels grounded in realism while often being quite magical thanks partly due to the script, and partly due to its beautiful dreamy score and arresting as well as intelligent compositions of its CinemaScope black and white cinematography.Its nationality isn't easily identifiable either. The spoken language is English, the writer of the source novel is British, as is the director, but he was born to French parents, the film (unlike the novel) is set in France and most of the crew is French, as is the main actress. Its overall feel is predominantly French but it definitely also has British and American touches and there's something Bergmanesque about it as well as it often plays like a chamber psychodrama and with Bergman regular Gunnel Lindblom in the cast providing a direct link to the Swedish auteur. Speaking of actors, although without big stars the main players are all recognizable faces who fit their roles excellently and all of which give very good performances with the memorable standout being French actress Patricia Gozzi as the young girl, she bowed out of acting only a few years later but if you happen to have seen 'Sundays and Cybele' you certainly will remember her from that movie.There are many films I could compare it to, but no comparison would be exhaustive. The enigmatic stranger who enters a family with each person projecting their own desires onto him and them essentially creating their own image of the man is an important element in the film that recalls Pasolini's 'Teorema'. Then there's an impressive section later in the film in which the girl finds herself in Paris for the first time and she is completely overwhelmed by her surroundings and the situation in general, which has something of the same year's 'Repulsion'. In fact I think I saw Catherine Deneuve rubbing her nose in the background in one of the shots...OK, I didn't. Anyway, those comparisons are just scratching the surface.I'm not really sure to whom I would recommend 'Rapture', but if my genre description made it sound like your kind of thing you may want to look into it. Especially if you loved Chan-wook Park's 'Stoker', I think there are a few similarities between them with a general oddness that is not only captivating with its complex web of character relationships but also feels perfectly natural to the material, in particular thanks to its mentally troubled young protagonist on the brink of sexual awakening who is like a warmer but also more visibly unhinged version of India Stoker with the actress very much having the same strange appeal as Mia Wasikowska as well as the acting chops to go with it.Although understandably not the kind of film with a huge mainstream appeal 'Rapture' apparently never even saw all that much of a release back in the 60's. The handful of reviews that I found (all written within the past few years) amazingly enough are unanimously very positive, which strengthens me in my belief that this is a gem still waiting to be discovered by a much wider audience. It's only now that the film sees its first wide home video release by the UK label Eureka, so maybe now its time has finally come.

From her stark novel of loneliness, "Rapture In My Rags" by PHILLIS HASTINGS.Patricia Gozzi, giving a 'bravura' performance that is nothing short of amazing, plays 15 year old disturbed Agnes (Fr. pronunciation: 'Anya'), a child-like waif who lives with her widowed Father in a ancient château on the jagged coastline of Brittany, France in conditions that are outwardly normal but with more psychological twists than a Freudian barber pole!Melvyn Douglas plays an ex-judge with what he seemingly believes is the key to the ageless paradox, "justice vs crime: egalitarian or barbarous?" His long suffering writings on his revelations are hamstrung by his quilt-ridden widower hood which continually stands between either world-fame or solitary madness.Agnes' latest trifle is to create a homemade scarecrow that gives her more succor than any human ever could. Suddenly, as a bolt from the sky, an escaped fugitive appears, (Dean Stockwell) who is befriended by the family. Guilt and innocence become more confusing than a Fallujah road-map!Recently previewing this Tour-De-Force again I am truly amazed why this Masterpiece isn't considered one of the greatest of it's time period. Although admittedly I haven't read the book, from which it is adapted, this film must certainly be considered a brilliant interpretation of a totally original story.

This is a well-grounded psychological drama with with element of suspense. The directing and acting is excellent and seems contemporary. Melvin Douglas is awesome and Dean Stockwell and Pozzi not far behind. Cinematography is excellent with a beautiful black and white medium. It is intended for mature audiences and mental lightweights need not apply. I rate 4 stars out of 5.

This film is a bit slow and lingering....making me think the director has seen one too many Bergman films. However - it was made in 1965, it's French, and it's shot in beautiful black & white. The world was different back then. The close-ups of the actor's faces are as expressive as the background shots of the rough Brittany coastline. The young girl, Patricia Gozzi, is fascinating. The relationship between her and her father is so complex that, well...I still haven't figured it out. And for pure cinematic beauty....no, it's not the girl....it's Dean Stockwell. The camera caresses his face in every scene. And, in the long shots, he looks like James Dean...as he stuffs his hands in his pockets and leans forward as he walks, with the young girl following him close behind. The father/daughter relationship I don't understand....but the young girl's infatuation with Stockwell makes perfect sense to me.