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by Salim Garami
The longevity of Danielle Darrieux's life - reaching up until the golden age of 100 as she passed Tuesday on 17 October - parallels the longevity of Darrieux's storied career. To know her path is to essentially map out the development of French cinema in a cursory sense: Beginning as a child in the very dawn of the French sound era within the musical comedy Le Bal in 1931 until a star-making turn in Anatole Litvak's Mayerling, taking a detour at the cusp of her fame to Hollywood like many beautiful French stars would, returning to her homeland right through the Left Bank faction of the French New Wave working with the likes of Claude Chabrol and Jacques Demy, finding her way to the Broadway stage with Coco as Coco Chanel, and taking a moment to work with directors of the Cahiers du Cinema second generation and the »
- Salim Garami
Danielle Darrieux, one of the great French movie stars, died Wednesday in Bois-le-Roi, France. She was 100.
The star of director Max Ophuls’ classic early ’50s films “La Ronde” and “The Earrings of Madame de…” and Anatole Litvak’s 1936 “Mayerling” also made some films in Hollywood and, late in life, starred, with an all-star cast of fellow French female movie stars, in Francois Ozon’s “8 Femmes.”
In Ozon’s 2002 delightful musical mystery-comedy “8 Femmes,” the actress played Deneuve’s mother again, starring along with Isabelle Huppert, Emmanuelle Beart, Fanny Ardant, Virginie Ledoyen and Ludivine Sagnier. The entire cast received a Silver Bear at the Berlin Film Festival for outstanding artistic achievement as well as the European Film Award for best actress.
Born in Bordeaux, Darrieux was raised in Paris. At the Paris Conservatory she studied the cello and piano.
Darrieux auditioned for a secondary role as a willful teenager in the 1931 musical “Le Bal” when she was only 14, and »
- Carmel Dagan
French film actor best known for Madame de … and La Ronde
There are few actors who embodied many people’s idea of a French woman of the world more than Danielle Darrieux, who has died aged 100. Starting as an ingenue in the 1930s, she grew into a sophisticate in the 40s and 50s, and retained a dignified and magical presence in films into the new century.
The outstanding examples of her art were the three films Darrieux made with the German-born Max Ophüls when she was in her 30s. In La Ronde (1950), she played the married woman who is seduced by a student (Daniel Gélin). The second and best of the three adapted tales by Guy de Maupassant in Le Plaisir (House of Pleasure, 1952) is La Maison Tellier, in which Darrieux played one of a group of prostitutes paying an annual holiday visit to the country. But it was the »
- Ronald Bergan
Danielle Darrieux, who made more than 100 films in a career that spanned eight decades, has died. The French actress and singer’s passing was reported by Afp citing her companion Jacques Jenvrin who said she died at her home in Bois-le-Roi, France on Tuesday. She turned 100 years old on May 1. Over the course of her long career, Darrieux worked with such directors as Max Ophuls, Jean Cocteau, Claude Chabrol, Henri Ducoin, Joseph L Mankiewicz, Jacques Demy, André Téchiné… »
Danielle Darrieux in her Fifties hey-day Photo: UniFrance
The star acted right up to the present decade Photo: Unifrance The veteran French actress Danièle Darrieux (also credited as Danièle) has died in Paris at the age of 100.
Two years later she worked with Opuls again on Le Plaisir as a good time girl, regretting her lost innocence. In 1953 she and Ophuls made the highly acclaimed The Earrings Of Madame De … in which she played opposite Vittorio De Sica.
Later she appeared in a tepid version of Lady Chatterley’s Lover in 1955 but her later career was rescued from the doldrums by `Jacques Demy who offered her singing roles in The Young Girls Of Rochefort in 1967 and »
- Richard Mowe
Close-Up is a feature that spotlights films now playing on Mubi. Arthur Riplye's The Chase (1946) is playing from September 30 - October 30, 2017 in the United States.“It’s happened again.” This almost throwaway admission by the protagonist of The Chase, Arthur Ripley’s way-out 1946 noir, comes just after the film’s jolting third act twist. It sets the viewer up for the unexpected, but is delivered with such exasperation that, at least for the beleaguered hero of the picture, the situation may perhaps be all too familiar, a possibility that in itself makes the occurrence that much more significant. Prior to this point, The Chase had been a solid, atmospheric thriller, with sufficient quirkiness to keep it in thoroughly fresh territory. But with this derailing revelation, there is really no preparing for how The Chase plays out, and what that, in turn, means for the preceding story. On its surface set-up, »
Acclaimed French helmer Bertrand Tavernier (“Round Midnight”) will present his eight-part series on French cinema during the 9th Lumière Festival, covering the period between the 1930s and early 1970s.
The series, “My Journeys Through French Cinema,” is a follow-up project to his documentary “My Journey Through French Cinema” which had its world premiere at last year’s Sundance Film Festival, followed by screenings at Cannes Classics, Telluride, New York, San Sebastián and the Lumière Festival.
The project is inspired by Martin Scorsese’s “Personal Journey through American Movies” (1995) and “My Voyage to Italian Cinema” (1999).
Tavernier was born in 1941 in France’s third largest city, Lyon, the home of the inventors of cinema, the Lumière brothers.
Tavernier and Thierry Frémaux are the president and director of the Institut Lumière, which organizes the Lumière Festival – one of the only big international festivals of classic cinema.
The eight-part series includes two episodes on Tavernier’s favorite directors, an episode »
- Martin Dale
Noah Baumbach has been making movies for more than 20 years, and in that time, has developed a distinctive voice in American cinema. His stories of neurotic New Yorkers are loaded with memorable moments of self-obsession and narcissistic showdowns. But Baumbach didn’t become a filmmaker overnight; he learned much about filmmaking from watching other movies. Raised by novelist Jonathan Baumbach and film critic Georgia Brown, Baumbach grew up surrounded by cinema, and it played a critical role in his evolving love for the medium.
The filmmaker looked back on some of these key influences during a conversation at the Film Society of Lincoln Center shortly before a screening of his latest effort, the ensemble comedy “The Meyerowitz Stories (New and Selected),” which Netflix releases later this month.
The Movie Brats
Baumbach was born in 1969, which placed on the younger end of the spectrum of moviegoers influenced by the movie brat »
- Eric Kohn
What seemed too raw for 1955 still packs a punch, as Robert Aldrich takes a meat cleaver to the power politics of the old studio system. Monstrous studio head Rod Steiger has just the leverage he needs to blackmail frazzled star Jack Palance into signing the big contract. But will Hollywood corruption destroy them all?
1955 / B&W / 1:85 widescreen / 111 min. / Street Date September 5, 2017 / 39.95
Cinematography: Ernest Laszlo
Art Direction: William Glasgow
Film Editor: Michael Luciano
Original Music: Frank De Vol
Produced and Directed by Robert Aldrich
Robert Aldrich’s 1940s film apprenticeship was largely spent as an assistant director for strong, creative filmmakers that wanted to do good personal work free of the constraints of the big studios. »
- Glenn Erickson
The history of the Muriel Awards stretches aaaalllll the way back to 2006, which means that this coming season will be a special anniversary, marking 10 years of observing the annual quality and achievement of the year in film. (If you don’t know about the Muriels, you can check up on that history here.) The voting group, of which I am a proud member, having participated since Year One, has also made its personal nod to film history by always having incorporated 10, 25 and 50-year anniversary awards, saluting what is agreed upon by ballot to be the best films from those anniversaries during each annual voting process.
But more recently, in 2013, Muriels founders Paul Clark and Steven Carlson decided to expand the Muriels purview and further acknowledge the great achievements in international film by instituting The Muriels Hall of Fame. Each year a new group of films of varying number would be voted upon and, »
- Dennis Cozzalio
A remake of Ernst Lubitsch’s 1932 film Broken Lullaby, itself based on a stage play, Frantz is the latest character-based drama from prolific French director François Ozon. Deeply melancholy and very moving, it’s a proper old school tearjerker, and more accessible than its austere monochrome aesthetic might imply.
1919. Widowed Anna (Paula Beer) lives in Quedlinberg with the Hoffmeisters, the parents of her late husband, Frantz, who was killed in battle the previous year. One day Anna visits Frantz’s grave and finds fresh flowers. The flowers were laid by a visiting Frenchman named Adrien (Pierre Niney). He says he knew Frantz.
- Rupert Harvey
Crime novel The Blank Wall by Elisabeth Sanxay Holding. While her husband is away during World War II, housewife Lucia Holley – the sort of “Everywoman” who looks great in a two-piece bathing suit – does whatever it takes to protect the feeling of “normality” in her bourgeois, suburban household. The Blank Wall is a classic depiction of an attempted cover-up being much more serious than the actual crime. Sound bites: Remembering the classic crime novel 'The Blank Wall' and its two movie adaptations – 'The Reckless Moment' & 'The Deep End' Crime novel writer Elisabeth Sanxay Holding (1889–1955) is not a name familiar to many, and yet Raymond Chandler described her as “the top suspense writer of them all. She doesn't pour it on and make you feel irritated. Her characters are wonderful; and she has a sort of inner calm which I find very attractive.” Holding has been identified as “The Godmother of Noir” and, more »
- Anthony Slide
Mubi is presenting the world premiere of James N. Kientiz Wilkins' The Republic from July 4 - August 3, 2017.The cinema of James N. Kienitz Wilkins occupies an unusual space in the contemporary art scene. Most of his films are the result of some sort of conceptual procedure, a decision either to treat his original footage according to some abstract system or to apply his own logic to found material. And yet, there is a plainspoken quality to Kienitz Wilkins’ work that smooths out any potential “art damage” or intimidation factor. Kienitz Wilkins has successfully adapted some of the most critical weapons in the arsenal of experimental cinema to produce a stark poetry of the everyday.Kienitz Wilkins’ newest “film,” The Republic, is quite possibly his most radical effort to date. For starters, you will notice that I put the word “film” in quotation marks, since it is no easy matter to »
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This July will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master »
- Ryan Gallagher
Exclusive: Here’s a first look at Hello Again, the film adaptation by Tom Gustafson (Mariachi Gringo) of composer-lyricist Michael John Lachiusa's acclaimed 1994 musical. A new riff on La Ronde, the scandal-causing Arthur Schnitzler play from 1897 (first filmed by Max Ophüls in 1950 and subsequently by Roger Vadim with 1964’s Circle of Love and Otto Schenk with Der Reigen in 1973) about series of sexual assignations across boundaries of class and status that seem… »
Opening in L.A. and other cities June 16, “Stefan Zweig: Farewell to Europe” is a stylishly accomplished and intellectually well thought out character study of a man who was the most popular author in the world in the 1920s and 1930s and who, today, is nearly forgotten. Told through six windows of 20 minutes each, this unique storytelling technique gives the film an immediacy as each part of Stefan Zweig’s life plays out in real time.
Stefan Zweig’s books have been made into 23 movies around the world, including his novel, Letter from an Unknown Woman, which was adapted to the screen in 1948 by Max Ophüls and starred Joan Fontaine and Louis Jourdain. His writings have also inspired Wes Anderson’s “Grand Budapest Hotel”.
Having just read his memoir, The World of Yesterday and having been on my own private search for what it means to have to leave your »
- Sydney Levine
Last year’s “Being 17” reminded us that André Téchiné could still make beautifully crafted, youthful films with insight and emotional certitude. The master’s latest, “Golden Years,” offers a far less encouraging lesson, since this ragtag period piece, clearly plagued by script problems, is lifeless to the core. Artificiality was never Téchiné’s strong suit, and the film’s structure, main characters and recurrent “Lola Montès”-style cabaret-circus device don’t play well to what he does best. Based on the fabulous but true story of a World War I deserter who discovers a thrilling new life when his wife dresses him up as a woman to avoid being caught, “Golden” enters a market already awash in gender fluidity and is unlikely to find a berth outside France.
Who can blame the director if the irresistible lure of this unlikely tale broke down his presumed wariness of costume dramas? (They appear infrequently in his oeuvre. »
- Jay Weissberg
In focus: David Hemmings in Antonioni’s trip around swinging London, part of Cannes Classics Photo: Cannes Film Festival
The Cannes Film Festival organisers have put the accent on heritage cinema with a particular connection to the Festival itself in the 70th edition.
The selection of some 24 titles and five documentaries, mainly in brand new copies, covers the years from 1946 to 1992 and includes René Clément’s The Battle Of The Rails, shown at the very first event, where it won an international jury award and a best director award.
Other landmark titles announced today (3 May) are The Wages Of Fear by Henri-Georges Clouzot (shown in 1953); 1967’s Palme d’Or winner Blow-Up, Michelangelo Antonioni’s take on swinging London with David Hemmings, and the highly controversial (at the time in »
- Richard Mowe
The 2017 Cannes Film Festival has announced the lineup for Cannes Classics, a selection of vintage films and masterpieces from the history of cinema. This year’s program is dedicated primarily to the history of the festival, and includes one short film and five new documentaries.
Read More: Cannes Adds Roman Polanski Film to Lineup
Highlights from the lineup include “Belle du Jour” (1967), Luis Bunuel’s classic about a housewife who dabbles in prostitution, and “All That Jazz ” (1979) Bob Fosse’s story of a womanizing, drug-using dancer played by Roy Scheider. There is also the documentary “Filmworker,” which tells the story of Leon Vitali, an actor who abandoned his career after “Barry Lyndon” to become Stanley Kubrick’s right hand man and creative collaborator behind the scenes.
Rights holders to the films decide whether to screen them in 2K or 4K, or use an original print. Jean Vigo’s “L’Atalante, »
- Graham Winfrey
Strand will focus on the history of Cannes for the festival’s 70th anniversary.
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
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