Excellent, Without a doubt!!

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

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.

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.

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.

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.