Love’s Connections: Sautet’s Frustrating, Savvy Love Story
Out of the many representations of cinematic emotional complexities French filmmakers master over most is the messy actuality of that thing called love. Director Claude Sautet went on to make Cesar and Rosalie in 1972, his third consecutive film with star Romy Schneider (they would work on five films together, all told) and also his first union with frequent collaborator Yves Montand. An attempt to portray the complicated elusiveness of loving the one you’re with, at its core the film is about a love triangle, with a beautiful woman as the ever shifting apex. Its title is actually misleading, and could easily have been called Rosalie.
Rosalie (Schneider) is currently dating Cesar (Montand), a wealthy scrap metal dealer with significant business connections. As they get ready to attend a wedding, we get the sense he loves her more than she does him,...
Out of the many representations of cinematic emotional complexities French filmmakers master over most is the messy actuality of that thing called love. Director Claude Sautet went on to make Cesar and Rosalie in 1972, his third consecutive film with star Romy Schneider (they would work on five films together, all told) and also his first union with frequent collaborator Yves Montand. An attempt to portray the complicated elusiveness of loving the one you’re with, at its core the film is about a love triangle, with a beautiful woman as the ever shifting apex. Its title is actually misleading, and could easily have been called Rosalie.
Rosalie (Schneider) is currently dating Cesar (Montand), a wealthy scrap metal dealer with significant business connections. As they get ready to attend a wedding, we get the sense he loves her more than she does him,...
- 7/24/2015
- by Nicholas Bell
- IONCINEMA.com
Criterion adds two more early works of auteur Costa-Gavras to the collection, rounding out his early trilogy of political thrillers headlined by Yves Montand with 1970’s The Confession and 1972’s State of Siege. Having blazed into the cinematic scene of the late 60’s with the dramatic Z in 1969, his immediate follow-up was a more sobering treatment of historical bureaucratic wrongdoing. Wearying, to say the least, the film is based on the real life account of the Communist Party show trials in 1952 Czechoslovakia as accounted in Lise and Artur Lindon’s book. Intelligently rendered, Costa-Gavras highlights the sobering reality of a mind-numbingly Kafkaesque scenario, filmed in an era where these depictions caused significant unrest, with communist factions of the period banning the film’s release in several countries.
Anton Ludvik (Yves Montand), also known as Gerard from his days in the French Resistance, is vice minister of Foreign Affairs in Czechoslovakia.
Anton Ludvik (Yves Montand), also known as Gerard from his days in the French Resistance, is vice minister of Foreign Affairs in Czechoslovakia.
- 6/2/2015
- by Nicholas Bell
- IONCINEMA.com
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
Marc Allégret: From André Gide lover to Simone Simon mentor (photo: Marc Allégret) (See previous post: "Simone Simon Remembered: Sex Kitten and Femme Fatale.") Simone Simon became a film star following the international critical and financial success of the 1934 romantic drama Lac aux Dames, directed by her self-appointed mentor – and alleged lover – Marc Allégret.[1] The son of an evangelical missionary, Marc Allégret (born on December 22, 1900, in Basel, Switzerland) was to have become a lawyer. At age 16, his life took a different path as a result of his romantic involvement – and elopement to London – with his mentor and later "adoptive uncle" André Gide (1947 Nobel Prize winner in Literature), more than 30 years his senior and married to Madeleine Rondeaux for more than two decades. In various forms – including a threesome with painter Théo Van Rysselberghe's daughter Elisabeth – the Allégret-Gide relationship remained steady until the late '20s and their trip to...
- 2/28/2015
- by Andre Soares
- Alt Film Guide
Just as the summer blockbuster movie season will be in full swing, the folks at The Criterion Collection will be catering to the cinephiles who prefer dramatic queries versus CGI enhanced explosions. And the auteur's take command for their May lineup. Costa-Gavras, perhaps best known for "Z" and "Missing," has two movies hitting the boutique label: "State Of Siege" and "The Confession." The former is a 1972 film starring Yves Montand about a CIA official kidnapped by a guerrilla group in South America. The features are spare, but it will come packaged with NBC news excerpts about the kidnapping of Dan Mitrione in 1970, which inspired the movie. The latter picture also stars Montand and follows an influential Czechoslovak dignitary who is abducted, imprisoned, and interrogated by fellow members of his country’s Communist ruling party. It too is based on a true story and comes loaded with extras, including documentaries, interviews,...
- 2/17/2015
- by Kevin Jagernauth
- The Playlist
The first time I saw anything from a Godard film, I hated it.
My first encounter with his work was perhaps appropriately abrupt and fragmentary. I was in my first year as a Film Studies major, in an introductory class about the French New Wave. Having grown up on a steady diet of Hollywood classics, I was hoping this would be an exciting new discovery. Mid-lecture, the professor showed a clip from the near the end of Tout va bien, his 1972 film co-directed with Jean-Pierre Gorin. The scene was the famous ten-minute-long tracking shot in which the camera moves laterally along a supermarket’s checkout aisles as student demonstrators wreak havoc. Going in, the professor warned us that we would likely find the scene annoying and overlong, and that that was “the point.”
I watched. I waited for enlightenment.
I was unimpressed.
I did not get it, but I was a quiet,...
My first encounter with his work was perhaps appropriately abrupt and fragmentary. I was in my first year as a Film Studies major, in an introductory class about the French New Wave. Having grown up on a steady diet of Hollywood classics, I was hoping this would be an exciting new discovery. Mid-lecture, the professor showed a clip from the near the end of Tout va bien, his 1972 film co-directed with Jean-Pierre Gorin. The scene was the famous ten-minute-long tracking shot in which the camera moves laterally along a supermarket’s checkout aisles as student demonstrators wreak havoc. Going in, the professor warned us that we would likely find the scene annoying and overlong, and that that was “the point.”
I watched. I waited for enlightenment.
I was unimpressed.
I did not get it, but I was a quiet,...
- 11/17/2014
- by Mallory Andrews
- SoundOnSight
Some movies just vanish.
While Costa-Gavras continues to enjoy a high reputation for his sixties and seventies political thrillers (perhaps more respected than watched, which is a shame) and to some extent for his later American movies (more watched than respected, also a shame), The Sleeping Car Murders (1965), one of his earliest works, is so hard to see that I wound up watching a pan-and-scanned off-air recording taped on VHS from Scottish Television sometime in the eighties, and dubbed into English. At least Simone Signoret seems to have done her own re-voicing, but her erring husband Yves Montand has that strained Amurrican tone I associate with Robert Rietty doing Orson Welles.
So Costa-Gavras' movie, formerly a missing person, turns up as a homicide victim, mutilated to prevent identification. With the performances defaced, the compositions utterly ruined, and the editing patterns minced in this copy (because a cut doesn't mean the...
While Costa-Gavras continues to enjoy a high reputation for his sixties and seventies political thrillers (perhaps more respected than watched, which is a shame) and to some extent for his later American movies (more watched than respected, also a shame), The Sleeping Car Murders (1965), one of his earliest works, is so hard to see that I wound up watching a pan-and-scanned off-air recording taped on VHS from Scottish Television sometime in the eighties, and dubbed into English. At least Simone Signoret seems to have done her own re-voicing, but her erring husband Yves Montand has that strained Amurrican tone I associate with Robert Rietty doing Orson Welles.
So Costa-Gavras' movie, formerly a missing person, turns up as a homicide victim, mutilated to prevent identification. With the performances defaced, the compositions utterly ruined, and the editing patterns minced in this copy (because a cut doesn't mean the...
- 11/6/2014
- by David Cairns
- MUBI
Complex and avant-garde French film director best known for Night and Fog and Last Year in Marienbad
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
- 3/3/2014
- by Brian Baxter
- The Guardian - Film News
The following is an essay featured in the anthology George Cukor - On/Off Hollywood (Capricci, Paris, 2013), for sale at www.capricci.fr.
The Film Society of Lincoln Center will be running a complete retrospective on the director, "The Discreet Charm of George Cukor," in New York December 13, 2013 - January 7, 2014. Many thanks to David Phelps, Fernando Ganzo, and Camille Pollas for their generous permission.
The Second-hand Illusion:
Notes on Cukor
Above: The Chapman Report (1962), A Life of Her Own (1950)
“There’s always something about them that you don’t know that you’d like to know. Spencer Tracy had that. In fact, they do all have that – all the big ones have it. You feel very close to them but there is the ultimate thing withheld from you – and you want to find out.” —George Cukor1
“Can you tell what a woman’s like by just looking at her?” —The Chapman Report...
The Film Society of Lincoln Center will be running a complete retrospective on the director, "The Discreet Charm of George Cukor," in New York December 13, 2013 - January 7, 2014. Many thanks to David Phelps, Fernando Ganzo, and Camille Pollas for their generous permission.
The Second-hand Illusion:
Notes on Cukor
Above: The Chapman Report (1962), A Life of Her Own (1950)
“There’s always something about them that you don’t know that you’d like to know. Spencer Tracy had that. In fact, they do all have that – all the big ones have it. You feel very close to them but there is the ultimate thing withheld from you – and you want to find out.” —George Cukor1
“Can you tell what a woman’s like by just looking at her?” —The Chapman Report...
- 12/10/2013
- by David Phelps
- MUBI
The racing is superb as is Daniel Brühl's performance but the film is undermined by clunky dialogue and fundamental untruths
It was Jackie Stewart who gave the old Nürburgring a nickname: the Green Hell. He hated the 14-mile circuit in the Eifel mountains. But that wasn't good enough for Peter Morgan. When the writer of Frost/Nixon and The Queen came to create his screenplay for Rush, the new film about the rivalry between James Hunt and Niki Lauda, a more dramatic introduction was needed for the location of Lauda's terrible crash in 1976.
"In Formula One," a TV commentator announces in the film, setting the scene for the near-fatal weekend, "it is known as the Graveyard."
Well, no, it isn't. And it wasn't, even in 1976. Yes, five drivers died there during grand prix meetings. A terrible toll, of course. But at Monza, to take just one example, the equivalent...
It was Jackie Stewart who gave the old Nürburgring a nickname: the Green Hell. He hated the 14-mile circuit in the Eifel mountains. But that wasn't good enough for Peter Morgan. When the writer of Frost/Nixon and The Queen came to create his screenplay for Rush, the new film about the rivalry between James Hunt and Niki Lauda, a more dramatic introduction was needed for the location of Lauda's terrible crash in 1976.
"In Formula One," a TV commentator announces in the film, setting the scene for the near-fatal weekend, "it is known as the Graveyard."
Well, no, it isn't. And it wasn't, even in 1976. Yes, five drivers died there during grand prix meetings. A terrible toll, of course. But at Monza, to take just one example, the equivalent...
- 9/6/2013
- by Richard Williams
- The Guardian - Film News
★★★☆☆ César and Rosalie (1972) is a piece of fanciful French whimsy by director Claude Sautet. An obscure little drama starring Yves Montand, Romy Schneider and Sami Frey, this film, though never really going anywhere, strangely manages to hold your attention with its languid, laid back approach. Rosalie (Schneider) is a divorced mother of one who happily divides her time between her mother's house, where she lives with her siblings and daughter, and her boyfriend César's apartment. César (Montand) has made a fortune dealing in scrap metal and, though he loves Rosalie dearly and she him, he seldom shows his appreciation for her outwardly.
Read more »...
Read more »...
- 11/6/2012
- by CineVue UK
- CineVue
After doing the rounds on VoD for a few weeks, where many of you will have seen it, Sarah Polley's "Take This Waltz" starts to roll out in theaters from tomorrow, and we can't recommend it enough; it's a messy, sometimes frustrating film, but a deeply felt, beautifully made and wonderfully acted one, and we named it last week as one of the best of the year so far. It is not, however, recommended as a date movie, fitting into a long cinematic tradition of painful examinations of broken, decaying, collapsing or dead relationships.
After all, it's one of the more universal human experiences; unless you get very lucky, everyone who falls in love will at some point have the wrenching experience of falling out of it, or being fallen out of love with. And when done best in film, it can be bruising and borderline torturous for a filmmaker and an audience,...
After all, it's one of the more universal human experiences; unless you get very lucky, everyone who falls in love will at some point have the wrenching experience of falling out of it, or being fallen out of love with. And when done best in film, it can be bruising and borderline torturous for a filmmaker and an audience,...
- 6/28/2012
- by The Playlist Staff
- The Playlist
There are multiple Fausts. Ever-multiplying, in fact, as if to outbreed all other fictional characters. The good doctor is unusual: Marlowe and Goethe's plays are both classics, and then there's Mann's novel; at least fifteen operas... In movies, Murnau rules supreme, but I like William Dieterle's The Devil and Daniel Webster just as much. René Clair's La beauté du diable is one of his best films, with Michel Simon and Gérard Philipe trading places as tempter and tempted, both utterly charming in their quite distinct ways. Sokurov just made another, well liked here at the Notebook. But for sheer visual rapture, Claude Autant-Lara's 1955 version Marguerite de la nuit takes the Technicolor cake and runs cackling all the way to perdition.
Based on a novel by author/songwriter Pierre Mac Orlan, who also provided source books for Le quai des brumes for Carné and La bandera for Duvivier,...
Based on a novel by author/songwriter Pierre Mac Orlan, who also provided source books for Le quai des brumes for Carné and La bandera for Duvivier,...
- 2/23/2012
- MUBI
Updated through 6/12.
"Jorge Semprún, a Spanish writer whose novelistic memoirs (or memoirish novels) drew on his experiences as a French Resistance fighter, concentration camp survivor, Communist organizer and Communist dissident, and who wrote distinguished screenplays for Alain Resnais, Costa-Gavras, Joseph Losey and other directors, died on Tuesday at his home in Paris. He was 87."
We'll get back to Bruce Weber's obituary in the New York Times in a moment, but first, Michael Eaude in the Guardian: "The experience of 18 months in Buchenwald, from 1943 to 1945, underlay all he thought and did. To the end of his life he suffered nightmares of the camp. His last public appearance, in April 2010, was to celebrate the 65th anniversary of the camp's liberation. He spoke then, on the same esplanade where he had seen people killed, of his belief in a united Europe rising from the ashes of Buchenwald's crematoria…. After the second world war,...
"Jorge Semprún, a Spanish writer whose novelistic memoirs (or memoirish novels) drew on his experiences as a French Resistance fighter, concentration camp survivor, Communist organizer and Communist dissident, and who wrote distinguished screenplays for Alain Resnais, Costa-Gavras, Joseph Losey and other directors, died on Tuesday at his home in Paris. He was 87."
We'll get back to Bruce Weber's obituary in the New York Times in a moment, but first, Michael Eaude in the Guardian: "The experience of 18 months in Buchenwald, from 1943 to 1945, underlay all he thought and did. To the end of his life he suffered nightmares of the camp. His last public appearance, in April 2010, was to celebrate the 65th anniversary of the camp's liberation. He spoke then, on the same esplanade where he had seen people killed, of his belief in a united Europe rising from the ashes of Buchenwald's crematoria…. After the second world war,...
- 6/12/2011
- MUBI
It's amazing how your perspective on movies changes the more you see and the more you open your mind to different kinds of films. In June 2009 I bought Jean-Pierre Melville's Le Samourai as a blind buy. I loved it, and it remains my favorite Melville film to date. Since then I have seen Le Doulos, Army of Shadows and, of course, Le Cercle Rouge. All are films that change your perspective on filmmaking, and strangely, while Melville was obsessed with American films during his day, his films would turn an audience off today as quickly as they captured audiences attention over 60 years ago.
Case in point, Anton Corbijn's The American, a film improperly sold to audiences as a thriller in the same vein as the Bourne franchise, but instead finds more of a relation to Melville's cold and calculated features. In my review I referenced Le Samourai,...
Case in point, Anton Corbijn's The American, a film improperly sold to audiences as a thriller in the same vein as the Bourne franchise, but instead finds more of a relation to Melville's cold and calculated features. In my review I referenced Le Samourai,...
- 6/10/2011
- by Brad Brevet
- Rope of Silicon
Versatile French actor whose work ranged from popular comedy to melodrama
Annie Girardot, who has died aged 79 after suffering from Alzheimer's disease, was an extremely versatile performer whose distinguished career stretched from the Comédie-Française, through popular comedies and melodramas to the French New Wave and beyond. Jean Cocteau, in whose play La Machine à Ecrire (The Typewriter) she starred, called her "the finest dramatic temperament of the postwar period". Hardly ever considered a sex goddess like her near contemporaries Jeanne Moreau and Brigitte Bardot, the petite Girardot, with her strongly etched features, often set off by short hair, and a warm deep voice was, nevertheless, able to create an erotic charge when needed.
Ironically, following her screen debut in 1956, and after nine French films in four years, she came to international prominence when her voice was dubbed into Italian in Luchino Visconti's Rocco e i Suoi Fratelli (Rocco and His Brothers,...
Annie Girardot, who has died aged 79 after suffering from Alzheimer's disease, was an extremely versatile performer whose distinguished career stretched from the Comédie-Française, through popular comedies and melodramas to the French New Wave and beyond. Jean Cocteau, in whose play La Machine à Ecrire (The Typewriter) she starred, called her "the finest dramatic temperament of the postwar period". Hardly ever considered a sex goddess like her near contemporaries Jeanne Moreau and Brigitte Bardot, the petite Girardot, with her strongly etched features, often set off by short hair, and a warm deep voice was, nevertheless, able to create an erotic charge when needed.
Ironically, following her screen debut in 1956, and after nine French films in four years, she came to international prominence when her voice was dubbed into Italian in Luchino Visconti's Rocco e i Suoi Fratelli (Rocco and His Brothers,...
- 3/2/2011
- by Ronald Bergan
- The Guardian - Film News
Over at Shadowplay, I'm hosting a little blogathon on "late films," but it was coincidence that found me screening a fan-subtitled, from-vhs copy of Les amants de Montparnasse (a.k.a. Montparnasse 19), which isn't anybody's last film, exactly, but is a late one in all kinds of ways. Both star Gérard Philipe and director Jacques Becker would be dead within a couple of years, both much too young (Becker went out on the high note of Le trou, while Philipe crammed a further four films into his schedule, including Roger Vadim's Les liaisons dangereuses and Luis Buñuel's Fever Mounts at El Pao). The film itself was the last project planned by Max Ophüls, who died before he could make it. His version would have starred Yves Montand as Modigliani and the actor's real-life wife, Simone Signoret, as Jeanne Hébuterne, his long-suffering partner. Given Signoret's own struggles as partner to the faithless Montand,...
- 12/16/2010
- MUBI
They've been spotted together in Paris, kissing, and in London, holding hands, but just who is this new man in Halle Berry's life, Olivier Martinez? Born in Paris of French and Spanish-Moroccan heritage, the 44-year-old has costarred with an international roster of stars (to Americans, he's probably most recognized for his role in 2002's Unfaithful, with Diane Lane and Richard Gere) and has been linked to some of the world's most beautiful women, including Juliette Binoche and singer Kylie Minogue. But here are some things that may surprise you about the sexy Martinez, who left school early to launch a career.
- 9/10/2010
- by Peter Mikelbank
- PEOPLE.com
Award-wining French film director best known for Tous les Matins du Monde
It is fair to say that the majority of audiences who saw the film Tous les Matins du Monde (All the Mornings of the World, 1991) – directed by Alain Corneau, who has died of lung cancer aged 67 – had previously never heard of (or heard) the music of the baroque composer and viola da gamba virtuoso Marin Marais. However, the lacuna was soon filled after this sensitive, painterly and vivid recreation of 17th-century French musical life had won seven Césars (France's Oscars), become an international success and resulted in a bestselling CD of the soundtrack by Le Concert des Nations ensemble.
Starring Gérard Depardieu as the older Marais, looking back on his reckless younger self (played by Depardieu's son, Guillaume), it remains Corneau's biggest success outside France. In fact, Tous les Matins du Monde, one of the few films...
It is fair to say that the majority of audiences who saw the film Tous les Matins du Monde (All the Mornings of the World, 1991) – directed by Alain Corneau, who has died of lung cancer aged 67 – had previously never heard of (or heard) the music of the baroque composer and viola da gamba virtuoso Marin Marais. However, the lacuna was soon filled after this sensitive, painterly and vivid recreation of 17th-century French musical life had won seven Césars (France's Oscars), become an international success and resulted in a bestselling CD of the soundtrack by Le Concert des Nations ensemble.
Starring Gérard Depardieu as the older Marais, looking back on his reckless younger self (played by Depardieu's son, Guillaume), it remains Corneau's biggest success outside France. In fact, Tous les Matins du Monde, one of the few films...
- 9/2/2010
- by Ronald Bergan
- The Guardian - Film News
On Tuesday night, Robert Pattinson was a guest at Jay Leno’s The Tonight Show. He chatted with Leno about this and that while promoting David Slade’s upcoming The Twilight Saga: Eclipse, the third installment of the Twilight franchise in which Pattinson co-stars with Kristen Stewart and Taylor Lautner. Eclipse, which opens in various countries on June 30, also features Bryce Dallas Howard, Dakota Fanning, Peter Facinelli, Elizabeth Reaser, Kellan Lutz, Ashley Greene, Nikki Reed, Jackson Rathbone, and Julia Jones. The clip above doesn’t offer much movie information. Pattinson talks about his father (sitting in the audience with Pattinson’s mother) and replicates a hand-grabbing-wrist gesture that French show business icon Yves Montand made at the Oscars. (Montand sang and danced at the 1960 Academy Awards ceremony; that year, his wife, Simone Signoret, won the Best Actress Oscar for Room at the Top.) On The Tonight Show, Pattinson also talked...
- 6/16/2010
- by Zhea D.
- Alt Film Guide
Robert Pattinson has begun making the talk show rounds while promoting The Twilight Saga: Eclipse. On Tuesday night, he was a guest at Jay Leno’s The Tonight Show. In the clip above, Pattinson talks about his father (sitting in the audience with Pattinson’s mother) and replicates a hand-grabbing-wrist gesture Yves Montand made at the Oscars. (Montand sang and danced at the 1960 Academy Awards ceremony, the year his wife, Simone Signoret, won the Best Actress Oscar for Room at the Top.) On The Tonight Show, Pattinson also talked briefly about appearing naked in Bel Ami, in which he co-stars with Uma Thurman and Christina Ricci, and about working on Eclipse. Later on, Emma Roberts remarked that she preferred Taylor Lautner’s Jacob, to which Pattinson replied, "You’ve just revealed yourself to have absolutely no taste."...
- 6/16/2010
- by Zhea D.
- Alt Film Guide
This was the first time I've seen a film featuring Marilyn Monroe. Let's cut the embellishments: the film is certainly worth your time if you're into musicals (which I'm not). Other than that, Let's Make Love's romance story between the two leading characters suffers from a serious lack of elaboration.
Jean-Marc Clément (Yves Montand) is a billionaire. His PR specialist (Tony Randall) apprised Jean-Marc that according to an article in Variety (my reaction: it's that old??!!?), he'll be parodied in an upcoming theatre production. By going to the production's rehearsal, Jean Marc snags a role as... himself. Furthermore, the show's cast didn't recognize him and this is why he goes around by using another name and by pretending that he's not a billionaire. However, Jean-Marc has a crush on Amanda Dell (Marilyn Monroe), his co-star. Will improving his stage skills make him win Amanda's affection?
Let's say straightforwardly that...
Jean-Marc Clément (Yves Montand) is a billionaire. His PR specialist (Tony Randall) apprised Jean-Marc that according to an article in Variety (my reaction: it's that old??!!?), he'll be parodied in an upcoming theatre production. By going to the production's rehearsal, Jean Marc snags a role as... himself. Furthermore, the show's cast didn't recognize him and this is why he goes around by using another name and by pretending that he's not a billionaire. However, Jean-Marc has a crush on Amanda Dell (Marilyn Monroe), his co-star. Will improving his stage skills make him win Amanda's affection?
Let's say straightforwardly that...
- 12/3/2009
- by anhkhoido@hotmail.com (Anh Khoi Do)
- The Cultural Post
French filmmaker Jean-Jacques Beineix.
Jean-jacques Beineix:
Divas and Lions and Moons, Oh My!
By Alex Simon
The Noveulle Vague, or “French New Wave” was launched by a group of film critics and cinefiles who began France’s legendary Cahiers du Cinéma magazine in the 1950s. With Jean-Luc Godard’s Breathless in 1959, the movement was launched, emphasizing behavior over aesthetics, content over form, and pastiche of other film genres (particularly those born in the U.S., with a healthy dollop of Italian neorealism) over the more traditional narratives of French films from years past. Francois Truffaut, Jacques Demy, Agnes Varda (see our interview with her below) Eric Rohmer, Claude Chabrol, and Jacques Rivette all fell under the spell of magazine co-founder and theorist Andre Bazin, laying the groundwork for a series of articles, monographs and critiques that formed the so-called “auteur theory,” (or more specifically “"La politique des auteurs" ("The policy of authors,...
Jean-jacques Beineix:
Divas and Lions and Moons, Oh My!
By Alex Simon
The Noveulle Vague, or “French New Wave” was launched by a group of film critics and cinefiles who began France’s legendary Cahiers du Cinéma magazine in the 1950s. With Jean-Luc Godard’s Breathless in 1959, the movement was launched, emphasizing behavior over aesthetics, content over form, and pastiche of other film genres (particularly those born in the U.S., with a healthy dollop of Italian neorealism) over the more traditional narratives of French films from years past. Francois Truffaut, Jacques Demy, Agnes Varda (see our interview with her below) Eric Rohmer, Claude Chabrol, and Jacques Rivette all fell under the spell of magazine co-founder and theorist Andre Bazin, laying the groundwork for a series of articles, monographs and critiques that formed the so-called “auteur theory,” (or more specifically “"La politique des auteurs" ("The policy of authors,...
- 7/14/2009
- by The Hollywood Interview.com
- The Hollywood Interview
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.