Translators introduction: This article by Mireille Latil Le Dantec, the second of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.
Passion...
Passion...
- 12/11/2014
- by Ted Fendt
- MUBI
Translators introduction: This article by Mireille Latil Le Dantec, the first of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.
Filmmaker maudit?...
Filmmaker maudit?...
- 11/30/2014
- by Ted Fendt
- MUBI
Above: 2-panel poster for Remorques aka Stormy Waters (Jean Grémillon, France, 1941). Poster by Henri Monnier.
I’ve posted a couple of gorgeous posters for the films of Jean Grémillon in other contexts, but now that the unsung auteur is getting his due with a month-long retrospective at the Museum of the Moving Image, I thought it was time to look at his entire oeuvre in posters. Grémillon has been written about often and eloquently in these pages by David Cairns, and the Notebook has just published the first part of a translation of a terrific 1978 article on the director, so I feel there’s little I can add in the way of exegesis. But I have managed to gather posters for thirteen of his feature films which I present in chronological order from 1928 to 1953. My favorite, beyond that stunning Daïnah la métisse which I’ve written about before, is the...
I’ve posted a couple of gorgeous posters for the films of Jean Grémillon in other contexts, but now that the unsung auteur is getting his due with a month-long retrospective at the Museum of the Moving Image, I thought it was time to look at his entire oeuvre in posters. Grémillon has been written about often and eloquently in these pages by David Cairns, and the Notebook has just published the first part of a translation of a terrific 1978 article on the director, so I feel there’s little I can add in the way of exegesis. But I have managed to gather posters for thirteen of his feature films which I present in chronological order from 1928 to 1953. My favorite, beyond that stunning Daïnah la métisse which I’ve written about before, is the...
- 11/23/2014
- by Adrian Curry
- MUBI
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