A French remake of Hollywood noir mobster movies with a little bit of what the critics like called "New-Wave" style, and Truffet's heartfelt cinema.
Story unfolded with a seemingly dispensable sequence with gibberish between Charlie Aznavour, our sedate but sexual prolific hero, and French filmmaker Alex Joffe, whom perhaps be a character like the Jean-Pierre Mieville in À bout de souffle as a "New-Waves" embodiment, also the tribute to Cashiers du cinéma. Those sequences like that I like to call it as the "breath space", or in other terms "irrelevant (sounds negatory)", "improvisatory"...etc. Works pretty well in French New Waves stuffs, especially the Jean-Luc Godards, which they pull the work into the self-talking hallucinating wet dreams. But I hold the judgmental opinion on it, those critics like Pauline Karl, the contrarians, tried to cling to a aesthetic that be against the mass audience and pull it to the extreme to build their own reputation, however to be responsible, the fully praise and promotion of those "breath space" is doubtful. Because it always brought the audiences to the nowhere, and then we forget simply where are we heading to. It is okay, if there were just right amount of "breath space" like in the Kurosawa's films (every breath spaces made the film much more brilliant and neat), but if, like most French New Waves director, Hollywood rom-com and probably some the Tarkovsky to me, they like pulling these sequences to the extreme and became their iconic style, it simply became a game of trash talking writings. I am not saying this sequence and all those sequences are bad, but I'm questioning about their artistic effect when it gets into the abuse. It's subtle to balance it, I think THE MIRROR and Kurosawa's DRUNKEN ANGEL are perfect example. In Truffet's TRIEZ SUR LE PIANISTE, we see however a weird levity of it, accompanying with Godard-like voice-out-frame.
The women in it are dramatically sacrificed, hardly resonates with hero.
Story unfolded with a seemingly dispensable sequence with gibberish between Charlie Aznavour, our sedate but sexual prolific hero, and French filmmaker Alex Joffe, whom perhaps be a character like the Jean-Pierre Mieville in À bout de souffle as a "New-Waves" embodiment, also the tribute to Cashiers du cinéma. Those sequences like that I like to call it as the "breath space", or in other terms "irrelevant (sounds negatory)", "improvisatory"...etc. Works pretty well in French New Waves stuffs, especially the Jean-Luc Godards, which they pull the work into the self-talking hallucinating wet dreams. But I hold the judgmental opinion on it, those critics like Pauline Karl, the contrarians, tried to cling to a aesthetic that be against the mass audience and pull it to the extreme to build their own reputation, however to be responsible, the fully praise and promotion of those "breath space" is doubtful. Because it always brought the audiences to the nowhere, and then we forget simply where are we heading to. It is okay, if there were just right amount of "breath space" like in the Kurosawa's films (every breath spaces made the film much more brilliant and neat), but if, like most French New Waves director, Hollywood rom-com and probably some the Tarkovsky to me, they like pulling these sequences to the extreme and became their iconic style, it simply became a game of trash talking writings. I am not saying this sequence and all those sequences are bad, but I'm questioning about their artistic effect when it gets into the abuse. It's subtle to balance it, I think THE MIRROR and Kurosawa's DRUNKEN ANGEL are perfect example. In Truffet's TRIEZ SUR LE PIANISTE, we see however a weird levity of it, accompanying with Godard-like voice-out-frame.
The women in it are dramatically sacrificed, hardly resonates with hero.