Bertrand Tavernier on Jacques Prévert and Joseph Kosma's Les Feuilles Mortes with Yves Montand in Marcel Carné's Les Portes De La Nuit: "The birth of the song. I mean, that's a good scene." Photo: Anne-Katrin Titze
In the second installment of my conversation with Bertrand Tavernier on his Voyage À Travers Le Cinéma Français we go towards Ernst Lubitsch's Heaven Can Wait, Lino Ventura and Jean-Pierre Melville, Jean Gabin in Jean Delannoy's adaptation of Georges Simenon's Inspector Maigret, Bernard Blier in Henri Verneuil's Le Président, Nadja Tiller in Gilles Grangier's Le Désordre Et La Nuit, Eddie Constantine, and composers Jean-Jacques Grunenwald, George Van Parys, and Paul Misraki.
Martin Scorsese critiquing a Robert De Niro performance in a film by another director is unimaginable to Bertrand. "Distance is important to give you a wider vision of things."
Lino Ventura to Bertrand Tavernier on...
In the second installment of my conversation with Bertrand Tavernier on his Voyage À Travers Le Cinéma Français we go towards Ernst Lubitsch's Heaven Can Wait, Lino Ventura and Jean-Pierre Melville, Jean Gabin in Jean Delannoy's adaptation of Georges Simenon's Inspector Maigret, Bernard Blier in Henri Verneuil's Le Président, Nadja Tiller in Gilles Grangier's Le Désordre Et La Nuit, Eddie Constantine, and composers Jean-Jacques Grunenwald, George Van Parys, and Paul Misraki.
Martin Scorsese critiquing a Robert De Niro performance in a film by another director is unimaginable to Bertrand. "Distance is important to give you a wider vision of things."
Lino Ventura to Bertrand Tavernier on...
- 4/3/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Amour Fou (Jessica Hausner)
An ecstatically original work of film-history-philosophy with a digital-cinema palette of acutely crafted compositions. Amour Fou seamlessly blends together the paintings of Vermeer, the acting of Bresson, and the psychological undercurrents of a Dostoevsky novel. It is an intensely thrilling and often slyly comic work that manages to combine a passionately dispassionate love story of the highest order with a larger socio-historical examination of a new era of freedom,...
Amour Fou (Jessica Hausner)
An ecstatically original work of film-history-philosophy with a digital-cinema palette of acutely crafted compositions. Amour Fou seamlessly blends together the paintings of Vermeer, the acting of Bresson, and the psychological undercurrents of a Dostoevsky novel. It is an intensely thrilling and often slyly comic work that manages to combine a passionately dispassionate love story of the highest order with a larger socio-historical examination of a new era of freedom,...
- 11/18/2016
- by The Film Stage
- The Film Stage
Jazz music has long expressed its capacity to borrow from various, sometimes contradictory sources in order to create something which in every sense transcends the original elements. Since the earliest days of jazz as a musical form, it has been inspired by military and funeral marches; has stylishly interpreted popular songs; and even brought the classical intricacies of Wagner into the domain of swinging brasses and reeds. This multiculturalism and eclecticism of jazz likens it to cinema which, in turn, has transformed pop culture motifs into something close to the sublime and mixed ‘high’ and ‘low’ artistic gestures to remarkable effect.In the history of jazz, the evolution from ragtime or traditional tunes, to discovering the treasure trove of Broadway songs was fast and smooth. The latter influence was shared by cinema, as the history of film production quickly marched on. The emergence of ‘talkies’ in the United States meant rediscovering Broadway,...
- 6/1/2015
- by Ehsan Khoshbakht
- MUBI
Above: Alexandre Trauner's sketch for Canal Saint-Martin and Hotel (second building from right).
Besides classical Hollywood, one of the other periods of film history in which studio production design has been so highly noted is the French poetic realist cinema of the 1930s. That period was the peak of creativity and influence of set designers in French film industry since the magical two-dimensional background paintings of Georges Méliès. The achievements of the era saw the making and consolidation of the reputations of designers in France, and growing critical and public interest in the nature of film design. Collaborations between director René Clair and art director Lazare Meerson had been widely seen in Europe and in even North America, where factory’s sets from À nous la liberté (1931) became a source of inspiration for Chaplin’s Modern Times (1936).
Among the architects of poetic realist cinema, one of the most skillful,...
Besides classical Hollywood, one of the other periods of film history in which studio production design has been so highly noted is the French poetic realist cinema of the 1930s. That period was the peak of creativity and influence of set designers in French film industry since the magical two-dimensional background paintings of Georges Méliès. The achievements of the era saw the making and consolidation of the reputations of designers in France, and growing critical and public interest in the nature of film design. Collaborations between director René Clair and art director Lazare Meerson had been widely seen in Europe and in even North America, where factory’s sets from À nous la liberté (1931) became a source of inspiration for Chaplin’s Modern Times (1936).
Among the architects of poetic realist cinema, one of the most skillful,...
- 10/10/2010
- MUBI
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