I like the storyline of this show,it attract me so much

Absolutely brilliant

To all those who have watched it: I hope you enjoyed it as much as I do.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

I'm in a play reading group and we often watch a movie based on a play we've read when one's available. Similarities are that a group of wealthy Parisian men find that there's oil underground in Paris and want top scatter derricks all over the city to get it. The countess is opposed to the plan. Among the differences are that she does away with all the ____. Still, it's a worthwhile movie with a fabulous cast of characters.

Question: In 1943 what movie starred Katherine Hepburn, Katherine Cornell, and Harpo Marx? ANSWER: STAGE DOOR CANTEEN Question: In 1969 what movie starred Katherine Hepburn, Dame Edith Evans, and Danny Kaye?ANSWER: THE MADWOMAN OF CHAILLOTOdd that Kate Hepburn should pop up in two unfair trivia questions, but it does happen. Actors do run into each other in all kinds of films, both good and bad, memorable and forgettable, and regular or short film (look at a comic short called THE STOLEN JOOLES which has most of the stars of Hollywood in the 1930s in it).STAGE DOOR CANTEEN was done for patriotic morale boosting for our soldiers, and it celebrated the canteens used to entertain our men on furlough. So the making of that film had a reason that transcends it's current obscurity. I might add, as it is the only major movie that stage star Katherine Cornell popped up in for just a few minutes, it is worth it as a time capsule as such.But THE MADWOMAN OF CHAILLOT was based on a Giraudoux play about modern society endangered by the forces of power and greed. It is about the discovery that the city of light, Paris, is reposing on a huge, untapped oil field, and that various power figures without any soul (Yul Brynner, Charles Boyer, Paul Henried, Oscar Holmolka, Donald Pleasance) may be able to empty the city of it's neighborhoods, it's citizens, it's life and light, and replace it with derricks. Giraudoux made sure that the villains represent everything that he suspects. Brynner is the ultimate ruthless billionaire (he is upset when a waiter accidentally spills water on him). Boyer is a stock broker. Henried is a General. Homolka is the French head of the Communist Party (Giraudoux has no illusions about what a political label means - there are power mad people in all political parties). Pleasance is a prospector for oil. There is also John Gavin as a right wing religious demagogue.Opposed to these villains are Kate Hepburn (the leading local social figure from the past - called "the madwoman of Chaillot") and her friends Giulietta Massina, Margaret Leighton, and Edith Evans (who is still trying to campaign in 1969 for Mr. Wilson's League of Nations). Also aiding Hepburn are the "rag picker" (Danny Kaye - in the best dramatic performance in a major motion picture in his career - also his only Oscar nomination), Richard Chamberlain, Gordon Heath, and Nanette Newman. Although Hepburn, Massina, Leighton, and Evans have social position, none have the political clout of the villains. So when they are made aware of the threat to their beloved Paris (and by extension western culture and morality) they hold a trial (in absentia) of the villains, and find these villains have to die.This film is better for the brief vignettes of it's stars than for the total impact. Brynner's malevolent, general ruthlessness is one of his best acting jobs. So is Henried's almost comical criminal activity: he confesses to having arranged the murder of four promising young aides of his, because he suspected one of them (but not knowing which) of sleeping with his wife - it turned out his wife had been faithful after all (Brynner, Boyer, Homolka, and Gavin congratulate him on his luck!). Kaye has several great set pieces - a rag picker he wraps eloquent about the great, glory days of garbage in the past where each neighborhood's garbage had a special character all it's own (as opposed to the garbage of the modern homogenized neighborhoods of Paris, that those villains forced on the citizens). He is superb in the scene where he is the "defense" counsel for Brynner and his group - demoniacally showing what these people are really like while "defending" them. All those comic, scatterbrained, sequences in his movies built up to these scenes of poetry and passion.Hepburn, of course, was great - that last sequence where she mistakes Chamberlain for the lost love of her youth, and mournfully laments his loss, is a highpoint in her career. She rarely had so poetic a scene of tragic delicacy.But the story, oddly enough, for all we may approve of the hatred shown for the powerful who use and discard us, is not fully acceptable. Henried's general is too stupid (he almost launches a missile attack on Russia while talking to Hepburn). Brynner is so impossibly arrogant that a consortium of his fellow billionaires would probably ruin him to shut him up. But the acting is still so good that it one can forget these minor problems. Any film where Donald Pleasance uses his prominent proboscis by putting it into a drinking glass to smell for oil cannot be all bad. So I'll give it a "6", if not higher.

Every Civics class (are they still teaching Civics in our increasingly more ignorant society?) should watch this and write an essay on it (if they know what one is, or what a subject and predicate is). What a fantastic analogue to today's insane reality, where the news is owned by the corporate giants: Yul Bryneer does a great turn describing how 'sensible' this arrangement is. To see Yul Bryner laughing is a treat in itself, when you have visions of Yul the Outlaw dancing in your head. Of course his evil in this film is far more insidious than any "The Wild Ones" could have envisioned.The Ragpicker's soliloquy by Danny Kaye is sometimes pointed to as the highlight of his career, when he was trivialized as a song and dance man....much as Einstein's political views on the insanity of war were sublimated to his scientific contributions. To watch Margaret Leighton give way to the Ragpicker's depiction of how easily women can be bought (with 'sable and morals'). As the defense lawyer, he almost gets his clients off by describing how he gave to all tax-exempt charities, and built many hospitals for the children who ate the food he grew in his 234 farms. (This will remind you of George Bernard Shaw's lines in "The Countess", in which the Indian muses on the much overlooked fact that those great givers to charity --whose names are etched on hospital walls-- are the same corporate giants who owned the mills that put the patients IN the hospitals.) Of course, we the people are no longer taught the skill of analytical thinking, so we wave the flag and gladly sacrifice our children to the merchants of death via their minions, the Army recruiters. And of course, it's all about oil, just as this illegal immoral invasion of Iraq is. How timely this movie is. No wonder you can't find it in the video stores. No wonder you can't even find reviews of the movie in Leonard Whoever's Reviews Book or the Time-Out English Review Book but in Variety's 2000 Movie Guide. Too dangerous in a time of McCarthyism, of Salem witch trials, where the 1st Amendment is so easily discarded.Naturally, we have a minister, who admits to being involved in some anti-Semitic activities using an atrocious Southern accent. Each of the plotters-- the commissar, the broker, the doctor, the DeGaulle prime minister...all 'confess' to one another their nefarious doings in order to show their loyalty to one another. The fact that Katherine Hepburn gives each of them an 'exclusive contract' to the oil under her mansion in Paris....soon known by all....indicates (according to Yul) that they are all worthy of being business partners, each one totally derelict of the chains of morality.This is a movie you'll see again and again. See it once for the gorgeous scenes of Paris, a city I love. See it again to remind yourself that once there was a Camelot, once there was a citizenry who cared enough, who knew enough about the danger democracy is in within our country to revolt, courting injury from the police stooges. Of course those police didn't have pepper guns or 'non-lethal' stun guns that kill. (Even at a Red Sox over Yankees celebration, by a direct hit, not the political demonstration the guns were bought for).These great actors are topped by Katherine Hepburn..her welling eyes mirroring her emotions, her concern at killing these monsters, her sadness for her lost love (the ragpicker?) that drove her insane. Here's an example of "If you had fore knowledge of the evil Hitler would do to the world, would you have killed him?".Yul Bryner shows also that he was an actor, not just a movie star...but then what enervated these great actors: Charles Boyer, Dame Evans, Guiletta Massina, Margaret Leighton (Betty Davis' nemesis)? It was a labor of love by an international cast which understood the greed, the amorality, the savagery of our 'leaders'. I note that the previous comments also mirror the reviewers' political outlooks in their thumbs down approach: too much truth for them?If ever such a dramatization of our society's plight (also Britain's, by the way) is needed, it is the year 2005-- with amoral incompetence in the saddle of our Executive Cowboy and mirrored by the insipid cowardice or ineffectiveness of our Democrats in Congress. Although you won't find it for less than $69, it's well worth the money.

You have to see this movie twice. The first time I saw it, I was disappointed. With such a fabulous cast you would expect something more than talk-politics-symbolism, but the second time I watched it I discovered I really loved it. Its theme is timeless and the film is of course, full of great performances. The wonderful Katharine Hepburn carries the burden of this entire fiasco, and under any other actress's supervision, this would simply not have survived. It is not at all an easy thing to make this whole wacky plot stick together, and somehow she does it. If she has trouble at sometimes, it is certainly not her fault. The part is incredibly challenging, even for one of Hollywood's most brilliant actresses. (I'd like to see Meryl Streep try to tackle this one!) Brynnor, Gavin, Kaye and the rest all do good jobs, but the spectator can't help but ask, what are they doing in this movie? Richard Chamberlain is delightful and he and Katharine Hepburn really are the driving forces. Yes, the themes are overdone, the film is talky, a little confusing, and even boring at times - but it still works and is well worth watching.