Despite its nearly four-hour running time, this is a uniquely personal look at movies from one of the late 20th century's great directors and film historians. The film consists of head & ... See full summary »
Michael Henry Wilson
Student Raskolnikow, who has written an article about laws and crime, proposing the thesis, that un-ordinary people can commit crimes if their actions are necessary for the benifit of ... See full summary »
On the steppes of Kazakhstan, Asa lives in a yurt with his sister Samal, her husband Ondas, and their three children. Ondas is a herdsman, tough and strong. It's dry, dusty, and windy; too ... See full summary »
A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red ... See full summary »
Single father obsessed with murdering the hit&run driver who killed his only child, poses as a screenwriter to get close to an actress who was in the death car. He feels fully prepared to ... See full summary »
Eric Rohmer leads a conversation with Jean Renoir and Henri Langlois on the art of filmmaker Louis Lumière. The cinematographic pioneer Lumière produced thousands of documentaries in the ... See full summary »
Organized mostly chronologically, the film presents the 40-year career of Henri Langlois (1914-1977), film's first archivist, and the creator of the Cinémathèque Française and Musée du Cinéma. Talking heads, film clips and stills, and archival interviews with Langlois trace his life from 1935, when he starts the Circle of Cinema film club. He begins to buy films, saving many from destruction. During World War II, he finds places to hide them. By mid-1944, the Cinémathèque has 50,000 films. He runs afoul of bureaucrats, but the New Wave comes to his defense. The museum opens in 1972. The film celebrates his philosophy and beliefs, personality and dedication, and his vision. Written by
[referring to the objects in the Museo du Cinéma]
When I started collecting these things, I was criticized - they said, "What's the use? Fetishistic idiocy," etc. My aim was to recreate an atmosphere, transmit a feeling. The artistry is in the actual film. So, Martine Carol's or Marlene Dietrich's dress doesn't send me. What counts is a composite reference. We're matchmakers of illusion.
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I had the chance to check out this fantastic documentary some time back at one of our local art cinemas (unfortunately the U.S. cut). After films about films (Day For Night, anyone?), I love documentaries about films. Make no mistake about it, this is a cinematic love letter to one of French cinema's patron saints. The film features scads of interviews with those who knew & loved (or hated) Langlois. As I watched it, I tried to imagine what it must have been liked to have attended a film at the Cinematic Francais,back in the day (with the likes of Truffaut,Goddard & Rivette sitting just inches away from you). This is a film that any/all serious film fanatics should be going out of their way to see. Perhaps one of these days, we may even get to see the 210 minute French cut of the film one of these days.
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