A central figure in French cinema, Bertrand Tavernier has an encyclopedic knowledge of the craft of filmmaking akin to the likes of Martin Scorsese and Quentin Tarantino. The sense of history he possesses is seen in both his narrative and documentary, the latter of which is perhaps best exemplified in his recent film My Journey Through French Cinema. Clocking in at 3.5 hours, that 2016 documentary has now received a follow-up expansion with an eight-part series and we’re pleased to debut the U.S. trailer.
Titled Journeys Through French Cinema, the director-writer-actor-producer explores the filmmakers that most influenced him, how the cinema of France changed when the country was German occupation, the unknown films and filmmakers he admires (with a focus on female directors), and much more. From better-known filmmakers such as Jacques Tati, Robert Bresson, and Jacques Demy to ones in need of (re)discovery such as Raymond Bernard, Maurice Turner,...
Titled Journeys Through French Cinema, the director-writer-actor-producer explores the filmmakers that most influenced him, how the cinema of France changed when the country was German occupation, the unknown films and filmmakers he admires (with a focus on female directors), and much more. From better-known filmmakers such as Jacques Tati, Robert Bresson, and Jacques Demy to ones in need of (re)discovery such as Raymond Bernard, Maurice Turner,...
- 12/27/2019
- by Jordan Raup
- The Film Stage
Marta Eggerth: Operetta and film star — a sort of Jeanette MacDonald of Central European cinema — dead at 101 Marta Eggerth, an international star in film and stage operettas who frequently performed opposite husband Jan Kiepura, died on December 26, 2013, at her home in Rye, New York. The Budapest-born Eggerth had turned 101 last April 17. (Photo: Marta Eggerth ca. 1935.) Although best known for her roles in stage musicals such as the Max Reinhardt-directed 1927 Hamburg production of Die Fledermaus, and various incarnations of Franz Lehár’s The Merry Widow, Marta Eggerth was featured in nearly 40 films. The vast majority of those were produced in Austria and Germany in the 1930s, as the Nazis ascended to power. Marta Eggerth films Marta Eggerth films, which frequently made use of her coloratura soprano voice, include Max Neufeld’s drama Eine Nacht im Grandhotel ("A Night at the Grand Hotel," 1931); the Victor Janson-directed musicals Once There Was a Waltz...
- 12/31/2013
- by Andre Soares
- Alt Film Guide
Above: Gustav Mezey three-sheet poster for Le Rosier de Madame Husson (Bernard Deschamps, France, 1932).
This stunning Austrian deco poster, which I came across on a Berlin antiquarian site, stands a magnificent 9 foot tall (110" x 49" to be precise) and comes in three sections. The poster is for a 1932 French film, whose German title, Der Tugendkönig, translates as “The Virtue King.” In the Us the film was titled He (or He - the Virgin Man), but the original title is Le Rosier de Madame Husson. Based on an 1887 Maupassant novella of the same name, the story concerns the titular Mme. Husson who seeks to promote chastity in her village by crowning a rosière, or a Rose Queen: a girl of unimpeachable virtue. But when none of the young women in town are equal to the title she selects the village idiot (played in the film by Fernandel) as her rosier.
Above: Roger...
This stunning Austrian deco poster, which I came across on a Berlin antiquarian site, stands a magnificent 9 foot tall (110" x 49" to be precise) and comes in three sections. The poster is for a 1932 French film, whose German title, Der Tugendkönig, translates as “The Virtue King.” In the Us the film was titled He (or He - the Virgin Man), but the original title is Le Rosier de Madame Husson. Based on an 1887 Maupassant novella of the same name, the story concerns the titular Mme. Husson who seeks to promote chastity in her village by crowning a rosière, or a Rose Queen: a girl of unimpeachable virtue. But when none of the young women in town are equal to the title she selects the village idiot (played in the film by Fernandel) as her rosier.
Above: Roger...
- 4/12/2013
- by Adrian Curry
- MUBI
One of the pleasures of digging around for movie posters is coming across great designs for films that have otherwise been forgotten, that have not become part of the pantheon—or even any of its foothills—but which nevertheless are fascinating reminders of areas of cinema history that are usually ignored. The other day I posted a lovely Russian poster on Movie Poster of the Day for an adaptation of Dostoyevsky’s White Nights that I wasn’t familiar with but which, I then discovered, was directed by a man described as “the high priest of Stalinist Cinema.” You can read more about that here.
When this terrific poster for Le passe-muraille caught my eye I knew absolutely nothing about the film, and, with the exception of English actress Joan Greenwood (Kind Hearts and Coronets), nearly every name on the poster, from star Bourvil to director Jean Boyer to author Marcel Aymé,...
When this terrific poster for Le passe-muraille caught my eye I knew absolutely nothing about the film, and, with the exception of English actress Joan Greenwood (Kind Hearts and Coronets), nearly every name on the poster, from star Bourvil to director Jean Boyer to author Marcel Aymé,...
- 3/17/2012
- MUBI
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