in GREEN: billoos

Yes I can remember this GOOGLE translation too...so my question is now this:

Are any of the films below - the same plot as I have previously described...or are they all different and nothing to do with the film ANGELIQUE that I was shown as a child...and I had been shown it in PARIS...so I suppose that it had been dubbed into French...although it was also shown upon English TV during my childhood...and the title was solely ANGELIQUE...nothing else attached.

So my guess that the ill cult have made themselves look really really stupid here...by disposing of the film above...and then trying to hide the fact that it had existed....as 'programming materials' for 'white ARABS' I am assuming here...by putting in front of it...a load of other films in the so-called ANGELIQUE genre of this 'kept sex slave' type of woman...

Here is the translation:


Czech to English translation
Angelika (1964 - 1968): The concept of the film
Angelika, the Marchioness of angels (1964) - Wonderful Angelica (1965) - Angelica and the King (1966) - indomitable Angelica (1967) - Angelica and Sultan (1968)
Films Borderie Bernard skilled craftsman, who had been pocvičil at the Three Musketeers (1961) or Pardaillanovi Knights (1962), one of the best genre films of the sixties. Their worldwide popularity, however, also contributed to the huge discounting certain works of Anne Golon.

The contract for the first film was signed with producer Francis Cosnem end of 1962 and two years later he made an interesting way, but all the genre's best film director Bernard Borderie Angelika tent loosely inspired by the angels on the work of one of the most successful French novels. Initially, the main role to be filled by some of the biggest stars of his day: Catherine Deneuve, Jane Fonda and Brigitte Bardot, who is really enthusiastic reader Angeličiných fates. During the legendary audition, which Mercier reportedly angry outburst showed genuine, it was decided to star a much smaller scale.

It turned out that Michele Mercier was exceptional in his role. Perhaps because it was adapted to film Angela's body and match the existing film experience with lightweight women's roles (see Shoot the pianist, 1960, The Three Faces of Fear, 1963, La Pupa, 1963, Le Tonnerre de Dieu, 1965, La Seconde verité, 1966, the oldest profession in the world, 1967). In addition, Michele Mercier was never the dozen blonde. All his characters and their natural remarked quite obvious superiority and thus shifted much higher. Thanks to twenty years, Michele received a fatal role of women and widows who would otherwise be determined In measured-aged ladies. The actress then essentially played herself, and such Angelika she too was similar. What is the current cry, Michele, Angela, and it is not the author of the novel, Mercier that Angela is not "real"? Whether we like it or not, from the moment we see the first Borderieho film becomes for us to face some sort of face, Michele Mercier Angelica. Perhaps only those who have never seen any movies of Angelica, are not affected by image vtíravým little blonde, little red Countess of 17 century, with black eyeliner, they wore in the sixties.

Although the scenario at the outset ripped off from his master and made for the use of superficial scheme commercially successful films (not only) the sixties, including the requisite degree of tension, a series of action scenes, violence and eroticism, of course, but due to the chosen artwork was still very strong and in some way unusual. Very helpful is also the music of Michel Magne and attractive exterior, but which certainly did not follow cultural studies.

Strictly seen, literary and cinematic works have followed a common name (not personality) of the main characters and plot of the first plan. Angela Mercier is infinitely far from the spiritual essence of the book heroine, unmarried women who love nature and experiencing deep feelings. You could say that the delineation of the popular heroine of the film fell into a low, sleazy and lewd minx who plays with men, but nothing really misses it. For Angelika Film has become even murderess (Angelica and the King, Angelique et le Roy, Bernard Borderie, 1966). This approach, however, Angelica was a variation on the sex symbol, recently established in the phenomenon of Brigitte Bardot and was entirely consistent with the culturally revolutionary sixty years ago. That's why the film remains a kind legend Angelica, whose appreciation for the need nepřiřazovat her historical movie, but enjoy a metaphor to model the "new woman" and great symbolism.

It's not a typical historical romance-adventure, but one of the cultural manifestations of the sixties, where the neusmívající, but still acting feminine heroine embodies a new era, the epitome of women, which governs the ability of naive, false perversity, cruelty and selfishness of the child. The authors also focused on a number of scenes that have a strong erotic precisely because they are only implied and require the viewer's imagination. Who would have before 1964, when it appeared on movie screens this concept Angelica first thought to name the beauty salon, a bed or a collection of underwear? Name Angelique, or the Angelika, or angels, was by then little used and even more so in an environment of female monasteries. Angelika Film has become a cult title. The film and the novel remain two phenomena are equally successful, but also the worlds most diverse, as it has in the case of adaptation sometimes.

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