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Leathernose (French: Nez de cuir, Italian: Naso di cuoio) is a 1952 French-Italian historical drama film directed by Yves Allégret and starring Jean Marais, Françoise Christophe and Mariella Lotti. It is an adaptation of the 1936 novel by Jean de La Varende, set in France in the years after the Napoleonic Wars. It was shot at the ...
Leathernose (1952) directed by Yves Allégret • Reviews, film + cast • Letterboxd. 1952 ‘Nez de cuir’ Directed by Yves Allégret. After being hurt in the face, Count de Roger Tinchebraye is forced to hide his disfigured face behind a leather mask. Dispirited for a while, he decides to become a Casanova-like seductor.
- Yves Allégret
Sinopse: <SITR></SITR>Depois de ser ferido no rosto, o Conde de Roger Tinchebraye é forçado a esconder seu rosto desfigurado atrás de uma máscara de couro. Desanimado por um tempo, ele decide se tornar um sedutor como Casanova. Quando encontra o amo
Overview. After being hurt in the face, Count de Roger Tinchebraye is forced to hide his disfigured face behind a leather mask. Dispirited for a while, he decides to become a Casanova-like seductor. When he meets true love, cynical Roger does not believe in it and lets pure Judith marry an old marquis.
Premieres. Related. Links. Leathernose. ( 1952 ) Nez de cuir. Drama. Based on Book. Black and White. After being hurt in the face, Count de Roger Tinchebraye is forced to hide his disfigured face behind a leather mask. Dispirited for a while, he decides to become a Casanova-like seductor.
- Yves Allégret
- Jean Marais
After being hurt in the face, Count de Roger Tinchebraye is forced to hide his disfigured face behind a leather mask. Dispirited for a while, he decides to become a Casanova-like seductor. When he meets true love, cynical Roger does not believe in it and lets pure Judith marry an old marquis. But once Judith's husband dies, he sees Judith again, shows her his disfigured face, which does not ...
Film Review. W ith his adaptation of Jean de La Varende's 1936 historical novel Nez-de-Cuir, director Yves Allégret shows little of the flair of his previous films and appears content to turn out a routine 'quality' melodrama, of the kind that the young firebrand critic François Truffaut would rail against in his famous diatribes.
