With the passing of Anna Karina, a curtain has fallen on the French New Wave, that fabled cinematic movement that brought fame to the man who made her name, Jean-Luc Godard. Yes, Godard is still with us, as is “Breathless” star Jean-Paul Belmondo (practically the last of the living New Wave legends), but his moviemaking compatriots François Truffaut, Eric Rohmer, Jacques Rivette, Jacques Demy, and, most recently, Agnès Varda are gone, and with them the spirit of playful abandon that Karina perfectly embodied.
In such Godard classics as “A Woman is a Woman,” “Pierrot le Fou,” “Alphaville,” and “Made in USA,” Karina appeared as a gamine and a femme fatale at the same time. Not since Josef von Sternberg and Marlene Dietrich had there been a director-and-star tandem so potent. The closest to it would be Philippe Garrel’s partnership with Nico — although the avant-garde blue plate specials made by...
In such Godard classics as “A Woman is a Woman,” “Pierrot le Fou,” “Alphaville,” and “Made in USA,” Karina appeared as a gamine and a femme fatale at the same time. Not since Josef von Sternberg and Marlene Dietrich had there been a director-and-star tandem so potent. The closest to it would be Philippe Garrel’s partnership with Nico — although the avant-garde blue plate specials made by...
- 12/16/2019
- by David Ehrenstein
- Variety Film + TV
Gilles Lellouche’s “Sink or Swim,” Mikhaël Hers’s “Amanda,” Louis-Julien Petit’s “Invisibles” and Eva Husson’s “Girls of the Sun” are set to screen at the 24th edition of the Rendez-Vous with French Cinema showcase which is co-organized by The Film Society of Lincoln Center and UniFrance.
After world-premiering out of competition at the Cannes Film Festival, “Sink or Swim” became a box office hit in France and got nominated for 10 Cesar Awards. The film is headlined by a popular French cast, including Mathieu Amalric (“At Eternity’s Gate”), Guillaume Canet (“Rock’n Roll”), Virginie Efira (“Elle”) and Leila Bekhti (“Midnight Sun”).
“Girls of the Sun,” which competed at Cannes, stars Golshifteh Farahani (“Paterson”) as a resistance fighter part of an all-female battalion made up of former captives of extremists who have vowed to reconquer their own land.
Inspired by a true story, “Invisibles” follows the journey of...
After world-premiering out of competition at the Cannes Film Festival, “Sink or Swim” became a box office hit in France and got nominated for 10 Cesar Awards. The film is headlined by a popular French cast, including Mathieu Amalric (“At Eternity’s Gate”), Guillaume Canet (“Rock’n Roll”), Virginie Efira (“Elle”) and Leila Bekhti (“Midnight Sun”).
“Girls of the Sun,” which competed at Cannes, stars Golshifteh Farahani (“Paterson”) as a resistance fighter part of an all-female battalion made up of former captives of extremists who have vowed to reconquer their own land.
Inspired by a true story, “Invisibles” follows the journey of...
- 2/14/2019
- by Elsa Keslassy
- Variety Film + TV
Three years ago this month, on the day that we learnt of the passing of the great Jacques Rivette, I wrote an article on his posters in which I said, while bemoaning the lack of great Rivette posters, that “his adaptation of Denis Diderot’s La religieuse, starring Anna Karina, seems to have inspired the most varied work (so much in fact that I will save most of it for a later post).” I’ve since also done a piece on Anna Karina’s posters (albeit for her lesser-known films), but it is only now, upon the re-release of a gorgeous restoration of La religieuse at Film Forum in New York, that I am finally fulfilling my promise to delve deep into posters for Rivette’s 1966 masterpiece, better known here as The Nun.The most iconic poster for the film is René Ferracci’s simple and elegant montage of illustration...
- 1/11/2019
- MUBI
Like a crafty Casanova who masks his true intentions while assiduously charming his latest prey, “Mademoiselle de Joncquieres” takes a stealthy and slow-burn approach before fully revealing its true colors as a shrewdly choreographed roundelay of scheming, seduction and revenge in the spirit of “Les Liaisons Dangereuses.” Freely adapted from the same section of Denis Diderot’s “Jacques le Fataliste” that inspired Robert Bresson’s “Les dames du bois de Boulogne” — but, unlike Bresson’s modernized 1945 version (co-scripted with Jean Cocteau), set in the same 18th-century period as Diderot’s original — writer-director Emmanuel Mouret’s exquisitely mounted and beautifully photographed film begins as a leisurely paced dramedy of manners, brimming with archly clever bons mots and politely tamped passions. But then things take a darker turn, and the movie becomes all the more enjoyable as elegantly nasty fun with serious mortal stakes.
During the regency of Louis Xv, Madame de...
During the regency of Louis Xv, Madame de...
- 9/27/2018
- by Joe Leydon
- Variety Film + TV
The eight previous features from French director Emmanuel Mouret (Shall We Kiss?, Caprice) have often been funny and quite talky contemporary dramedies that explored relationships and morality, so it is no surprise that he has occasionally been dubbed the “French Woody Allen.” But it is unlikely that Allen would ever direct something like Mademoiselle de Joncquieres, Mouret’s first historical film which is set in 18th-century France and which suggests Les liaisons dangereuses by way of Denis Diderot. A rarely-better Cecile de France stars as a young widow who, against her better judgment, falls head-over-heels in love with a ...
- 9/10/2018
- The Hollywood Reporter - Film + TV
The eight previous features from French director Emmanuel Mouret (Shall We Kiss?, Caprice) have often been funny and quite talky contemporary dramedies that explored relationships and morality, so it is no surprise that he has occasionally been dubbed the “French Woody Allen.” But it is unlikely that Allen would ever direct something like Mademoiselle de Joncquieres, Mouret’s first historical film which is set in 18th-century France and which suggests Les liaisons dangereuses by way of Denis Diderot. A rarely-better Cecile de France stars as a young widow who, against her better judgment, falls head-over-heels in love with a ...
- 9/10/2018
- The Hollywood Reporter - Movie News
Jacques Rivette’s deeply strange 1966 story – soon out on DVD and Blu-Ray – is part erotic memoir, part melodrama
Jacques Rivette’s 1966 reinterpretation of Denis Diderot’s 18th-century novel La Religieuse, starring the queen of the New Wave herself, Anna Karina, appeared in the Classics strand of last year’s Cannes film festival and now it gets a brief cinema outing in the UK, prior to its DVD and Blu-Ray rerelease. The ordeal of a pure young woman, as Rivette conceives it, has an eerie theatricality and mystery, as it dramatises the nature of freedom. It is part melodrama, part erotic memoir. The Nun was controversial in its day, and Lars von Trier may have studied the bat squeak of black comedy in it for his own provocations, such as Breaking the Waves and Dancer in the Dark.
Karina plays Suzanne Simonin, a young woman who is committed by her family,...
Jacques Rivette’s 1966 reinterpretation of Denis Diderot’s 18th-century novel La Religieuse, starring the queen of the New Wave herself, Anna Karina, appeared in the Classics strand of last year’s Cannes film festival and now it gets a brief cinema outing in the UK, prior to its DVD and Blu-Ray rerelease. The ordeal of a pure young woman, as Rivette conceives it, has an eerie theatricality and mystery, as it dramatises the nature of freedom. It is part melodrama, part erotic memoir. The Nun was controversial in its day, and Lars von Trier may have studied the bat squeak of black comedy in it for his own provocations, such as Breaking the Waves and Dancer in the Dark.
Karina plays Suzanne Simonin, a young woman who is committed by her family,...
- 7/27/2018
- by Peter Bradshaw
- The Guardian - Film News
From The Devils to Doubt, film-makers’ passion for holy havoc continues, as two very different movies called The Nun are released this summer
Some habits prove hard to kick. There are two films named The Nun out this summer: a gorgeous restoration of Jacques Rivette’s banned 1966 film starring Anna Karina, and a new prequel in The Conjuring franchise directed by Corin Hardy, in which demon nun Valak (Bonnie Aarons) from The Conjuring 2 torments the novice Sister Irene (Taissa Farmiga) in a Romanian abbey. Clearly, the convent exerts a special fascination on film-makers, because nuns, whether reluctant, rebellious, devout or possessed, have cropped up in many memorable, often controversial, movies.
Valak’s hellish reappearance is hardly designed to please church elders, but Rivette’s film, too, was initially banned in France, a decision that director Jean-Luc Godard likened to a “Gestapo of the mind”. It was released a couple of years later,...
Some habits prove hard to kick. There are two films named The Nun out this summer: a gorgeous restoration of Jacques Rivette’s banned 1966 film starring Anna Karina, and a new prequel in The Conjuring franchise directed by Corin Hardy, in which demon nun Valak (Bonnie Aarons) from The Conjuring 2 torments the novice Sister Irene (Taissa Farmiga) in a Romanian abbey. Clearly, the convent exerts a special fascination on film-makers, because nuns, whether reluctant, rebellious, devout or possessed, have cropped up in many memorable, often controversial, movies.
Valak’s hellish reappearance is hardly designed to please church elders, but Rivette’s film, too, was initially banned in France, a decision that director Jean-Luc Godard likened to a “Gestapo of the mind”. It was released a couple of years later,...
- 7/20/2018
- by Pamela Hutchinson
- The Guardian - Film News
Confines of the World
Director: Guillaume Nicloux
Writer: Jerome Beaujour
The fast paced Guillaume Nicloux (who has premiered a new film project in succession from 2012 to 2016) embarks on an ambitious WWII project, Confines of the World, adapted from Erwan Bergot’s “Commando Vandenberghe: Le Pirate du Delta by scribe Jerome Beaujour (who worked in Nicloux’s version of The Nun, based on a novel by Denis Diderot and initially filmed by Jacques Rivette in 1966).
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Director: Guillaume Nicloux
Writer: Jerome Beaujour
The fast paced Guillaume Nicloux (who has premiered a new film project in succession from 2012 to 2016) embarks on an ambitious WWII project, Confines of the World, adapted from Erwan Bergot’s “Commando Vandenberghe: Le Pirate du Delta by scribe Jerome Beaujour (who worked in Nicloux’s version of The Nun, based on a novel by Denis Diderot and initially filmed by Jacques Rivette in 1966).
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- 1/3/2017
- by Nicholas Bell
- IONCINEMA.com
For the first time in the Us, Jacques Rivette’s 1961 directorial debut, Paris Belongs to Us is available thanks to an accomplished new restoration from Criterion. A neglected title associated with the same crew of vibrant auteurs eventually known as the Nouvelle Vague of the late 1950s and early 1960s, the Rivette’s thunder was stolen by more famous films from critics turned filmmakers Jean-Luc Godard, Claude Chabrol, and Francois Truffaut (even though it technically went into production before several of theirs). The initial lackluster response explains Rivette’s slower rise to notability, his particular methods and idiosyncrasies eventually embraced nearly a decade later when items like Mad Love (1969) and the monolithic Out 1 (1971), the legendary near thirteen hour production, were released.
Anne (Betty Schneider) is a young literature student in Paris, following in the footsteps of her older brother, Pierre (Francois Maistre). Afetr a disturbing interaction with a neighbor at her hostel,...
Anne (Betty Schneider) is a young literature student in Paris, following in the footsteps of her older brother, Pierre (Francois Maistre). Afetr a disturbing interaction with a neighbor at her hostel,...
- 3/8/2016
- by Nicholas Bell
- IONCINEMA.com
Above: French poster for Paris Belongs to Us (Jacques Rivette, France, 1960).Over the years I have often wanted to write about the films of Jacques Rivette, but I have always been disappointed by the quality both of the posters for many of his films and of the scans available for even the better designs. With the sad news that Rivette has left us this morning at the age of 87—so soon after the triumphant resurrection of his magnum opus Out 1—I feel I should at least showcase the handful of posters that do this great director justice.The best Rivette posters are top-loaded at the beginning of his career. His adaptation of Denis Diderot’s La religieuse, starring Anna Karina, seems to have inspired the most varied work (so much in fact that I will save most of it for a later post). And there are a few other terrific designs,...
- 1/29/2016
- by Adrian Curry
- MUBI
The Valley of Love
Director: Guillaume Nicloux // Writer: Guillaume Nicloux
Even with eleven feature films under his belt, director Guillaume Nicloux remains the least recognizable name on our top ten list, but his last two features have significantly elevated his international status, including his 2013 remake of the Jacques Rivette film The Nun (based on the novel by Denis Diderot, which starred Isabelle Huppert, Martina Gedeck, Louise Bourgoin and newcomer Pauline Etienne. While that film never received Us distribution, his 2014 title, The Kidnapping of Michel Houllebecq was picked up by Kino Lorber after winning Best Screenplay at Tribeca and will receive a theatrical release in the Us next spring. Nicloux’s latest promises to be his most anticipated to date, reuniting film stars Isabelle Huppert and Gerard Depardieu, who last worked together in the excellent Maurice Pialat film, Loulou (1980). Filming in California, the film concerns the story revolves around Isabelle and Gérard,...
Director: Guillaume Nicloux // Writer: Guillaume Nicloux
Even with eleven feature films under his belt, director Guillaume Nicloux remains the least recognizable name on our top ten list, but his last two features have significantly elevated his international status, including his 2013 remake of the Jacques Rivette film The Nun (based on the novel by Denis Diderot, which starred Isabelle Huppert, Martina Gedeck, Louise Bourgoin and newcomer Pauline Etienne. While that film never received Us distribution, his 2014 title, The Kidnapping of Michel Houllebecq was picked up by Kino Lorber after winning Best Screenplay at Tribeca and will receive a theatrical release in the Us next spring. Nicloux’s latest promises to be his most anticipated to date, reuniting film stars Isabelle Huppert and Gerard Depardieu, who last worked together in the excellent Maurice Pialat film, Loulou (1980). Filming in California, the film concerns the story revolves around Isabelle and Gérard,...
- 1/9/2015
- by Nicholas Bell
- IONCINEMA.com
Isabelle Huppert's sapphic nun is the apex predator in this affecting tale of faith and faithlessness
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A bad week for wimples as another set of nuns get a knocking at the cinema. This time around it's not the puritanical Irish dames of Philomena but Isabelle Huppert's sapphic sister, pale of face, crazed of gaze and horny as hell. She's the chief predator in a rollcall of bitchy superiors and full-out fruitcakes our reluctant novice heroine (Pauline Etienne), must dodge to preserve her sanity in this latest adaptation of the 18th-century novel by Denis Diderot.
It's an affecting and frank take on the loneliness of faith as well as faithlessness, whose horrors come in odd contrast to the plush production values. The linen alone is lovely enough to make you weep.
Rating: 3/5
Isabelle HuppertWorld cinemaDramaCatherine Shoard
theguardian.com © 2013 Guardian News...
Reading this on mobile? Click here to watch video
A bad week for wimples as another set of nuns get a knocking at the cinema. This time around it's not the puritanical Irish dames of Philomena but Isabelle Huppert's sapphic sister, pale of face, crazed of gaze and horny as hell. She's the chief predator in a rollcall of bitchy superiors and full-out fruitcakes our reluctant novice heroine (Pauline Etienne), must dodge to preserve her sanity in this latest adaptation of the 18th-century novel by Denis Diderot.
It's an affecting and frank take on the loneliness of faith as well as faithlessness, whose horrors come in odd contrast to the plush production values. The linen alone is lovely enough to make you weep.
Rating: 3/5
Isabelle HuppertWorld cinemaDramaCatherine Shoard
theguardian.com © 2013 Guardian News...
- 11/3/2013
- by Catherine Shoard
- The Guardian - Film News
Isabelle Huppert is a horny mother superior in an adaptation of the Diderot novel that gets the original's prankish intentions
A reluctant young nun (Pauline Etienne) gets trapped in the faith in Guillaume Nicloux's adaptation of the 18th-century novel by Denis Diderot. Holy guidance comes from two mother superiors – one a master of "hiding all the thorns of religious life", the other (played with a tight-lipped archness by Isabelle Huppert) eager to take her charge for a romp in the roses. Diderot's novel was intended as a practical joke – a compilation of letters he sent to a devout friend in the guise of a desperate nun looking to leave the sisterhood. Huppert's advances are Nicloux giving the prank his blessing. This is dark but comedic, with plenty of frills beneath the habit.
Rating: 3/5
World cinemaDramaIsabelle HuppertHenry Barnes
theguardian.com © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved.
A reluctant young nun (Pauline Etienne) gets trapped in the faith in Guillaume Nicloux's adaptation of the 18th-century novel by Denis Diderot. Holy guidance comes from two mother superiors – one a master of "hiding all the thorns of religious life", the other (played with a tight-lipped archness by Isabelle Huppert) eager to take her charge for a romp in the roses. Diderot's novel was intended as a practical joke – a compilation of letters he sent to a devout friend in the guise of a desperate nun looking to leave the sisterhood. Huppert's advances are Nicloux giving the prank his blessing. This is dark but comedic, with plenty of frills beneath the habit.
Rating: 3/5
World cinemaDramaIsabelle HuppertHenry Barnes
theguardian.com © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved.
- 11/1/2013
- by Henry Barnes
- The Guardian - Film News
★★☆☆☆ French writer Denis Diderot played an elaborate prank on the Marquis de Croismare, penning lengthy pleading letters from Suzanne - a fictional nun - which he forged into a single narrative after the jape was revealed. Guillaume Nicloux's new adaptation of the controversial novel, The Nun (2013), sees the Marquis incorporated into the wider story in a move that flirts with a degree of contextualisation, but sadly serves only to compound its inherent flaws. There is a fine central performance and some elegant aesthetics, but neither can make up for a generic critique of Catholicism laced with dubious gender politics.
- 10/31/2013
- by CineVue UK
- CineVue
If you’re a devout Catholic, or alternatively, just a fan of nuns – it may be worth steering clear of the cinema this weekend, because between the British drama Philomena and Guillaume Nicloux’s The Nun, the church comes under some real scrutiny, in films that challenge tradition and belief, as this French feature paints a somewhat bleak and disquieting picture of life in a convent.
Unlike her two older sisters, Suzanne Simonin’s (Pauline Etienne) parents cannot afford to marry off their daughter, instead forcing her against her will to live at a nunnery. Her agonising life transpires into becoming a tale of three Mother Superiors: the first being a kind-hearted woman who looks out for Suzanne, despite the teenager making reservations towards the church perfectly clear. The second is the vicious Christine (Louise Bourgoin), who subjects the youngster to both mental and physical abuse, while finally we have...
Unlike her two older sisters, Suzanne Simonin’s (Pauline Etienne) parents cannot afford to marry off their daughter, instead forcing her against her will to live at a nunnery. Her agonising life transpires into becoming a tale of three Mother Superiors: the first being a kind-hearted woman who looks out for Suzanne, despite the teenager making reservations towards the church perfectly clear. The second is the vicious Christine (Louise Bourgoin), who subjects the youngster to both mental and physical abuse, while finally we have...
- 10/29/2013
- by Stefan Pape
- HeyUGuys.co.uk
Title: La Religieuse (The Nun) Director: Guillaume Nicloux Starring: Pauline Étienne, Isabelle Huppert, Louise Bourgoin, Martina Gedeck, Françoise Lebrun. The father of French Enlightenment and co-founder of l’Encyclopédie along with Jean le Rond d’Alembert, Denis Diderot, in 1758 wrote the story of a freedom-loving woman who was forced into convent against her will (that was published posthumously in 1796). Diderot was very much of a rebel himself: he married a woman below his social status, the fatherless and dowryless Antoinette Champion. Their only daughter was named after Denis’ mother and sister Angélique. Diderot’s sibling was a nun who died from overwork in the convent and she might be the one [ Read More ]
The post La Religieuse (The Nun) Movie Review appeared first on Shockya.com.
The post La Religieuse (The Nun) Movie Review appeared first on Shockya.com.
- 5/30/2013
- by Chiara Spagnoli Gabardi
- ShockYa
We’re here to start a little chat about the project which had “a potential winner of Berlinale” written all over it but as we know now, the movie is not among winners. Guillaume Nicloux‘s latest movie, simply titled The Nun premiered in competition at the 63rd Berlin International Film Festival. Nicloux’s movie is based on Denis Diderot’s classic novel which tells the story of a woman trying to resist imposed religious values, revealing the dehumanizing effect of cloistered life. It follows the rebellion and tragic fate of Suzanne Simonin, a charming young woman from a bourgeois family who is cloistered away in a convent against...
- 2/17/2013
- by Fiona
- Filmofilia
Legendary French actress Isabelle Huppert has an extraordinarily lengthy filmography, with over 100 credits to her name. But she's come to the 2013 Berlin International Film Festival with a wholly new role: Supérieure Saint Eutrope, the super horny lesbian nun in Guillaume Nicloux’s "The Nun" (La Religieuse). Huppert's Eutrope is not the film's titular nun. That would be Pauline Etienne as 16-year-old Suzanne Simonin, the heroine at the center of Nicloux’s adaptation of Denis Diderot's controversial 18th century novel (previously adapted by the likes of Jacques Rivette). Simonin eventually finds herself at a convent headed by Huppert's character, who at first appears quite friendly (especially compared to some of the other characters in the film), but then quickly becomes a little too friendly. "I like the character I had to portray," Huppert said at the film's press conference. "It's the kind of...
- 2/11/2013
- by Peter Knegt
- Indiewire
★★☆☆☆ Guillaume Nicloux's The Nun (La Religieuse, 2013) is based upon French philosopher, art critic and writer Denis Diderot's controversial novel of the same name. Previously adapted by Jacques Rivette, whose daringly derogatory adaptation was originally banned by the French censors for its controversial representation of the church, The Nun's infamous story has all the ingredients required for a gripping, divisive religious expose. We're regaled with the confession of defiant sister Suzanne Simonin (played with aplomb by Pauline Etienne), whose forceful incarceration within a nunnery led her to compose a memoir of her suffering.
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- 2/10/2013
- by CineVue UK
- CineVue
The Nun (La Religieuse) was considered too controversial to be published in the lifetime of its author, the 18th-century Enlightenment philosopher Denis Diderot. The story is told as a memoir from the perspective of a young nun, the illegitimate Suzanne, who has been forced into convent life by her mother. At three convents she causes a ruckus by voicing her desire to be released from vows.
- 2/1/2013
- The Independent - Film
From a part-time Christmas tree to the 90-minute portrait of Zinedine Zidane, artist Philippe Parreno tells Stuart Jeffries why he has always got one eye on the clock
'Do you know the average time a visitor spends in front of a work of art in the Louvre?" asks Philippe Parreno over coffee in his Paris studio. "Only three seconds! Crazy when you think about it." Absolutely – that's no way to treat the Mona Lisa or any of the Louvre's 35,000 artworks.
"At the Met in New York it's 10 seconds. I don't know why there's that difference." Maybe it's because the cakes are better in the Louvre cafe. Or perhaps it's because of Jean-Luc Godard's 1964 film Bande à Part, in which three characters try to break the world record for running through the Louvre. It takes them nine minutes 43 seconds, which probably drags down average artwork viewing times.
These are not small matters.
'Do you know the average time a visitor spends in front of a work of art in the Louvre?" asks Philippe Parreno over coffee in his Paris studio. "Only three seconds! Crazy when you think about it." Absolutely – that's no way to treat the Mona Lisa or any of the Louvre's 35,000 artworks.
"At the Met in New York it's 10 seconds. I don't know why there's that difference." Maybe it's because the cakes are better in the Louvre cafe. Or perhaps it's because of Jean-Luc Godard's 1964 film Bande à Part, in which three characters try to break the world record for running through the Louvre. It takes them nine minutes 43 seconds, which probably drags down average artwork viewing times.
These are not small matters.
- 11/15/2010
- by Stuart Jeffries
- The Guardian - Film News
Idiosyncratic French film-maker who was a leading figure in the cinema of the postwar new wave
In Arthur Penn's intelligently unconventional private eye thriller Night Moves (1975), Gene Hackman's hero – who finds the mystery he faces as unfathomable as his personal relationships – is asked by his wife whether he wants to go to an Eric Rohmer movie. "I don't think so," he says. "I saw a Rohmer film once. It was kind of like watching paint dry."
Behind that exchange lies a jab at Hollywood's mistrust of any film-maker, especially a French one, who neglects plot and action in favour of cerebral exploration, metaphysical conceit and moral nuance. The Dream Factory, after all, had proved through trial and error that cinema is cinema, literature is literature, and the twain shall meet only provided the images rule, not the words.
Of the major American film-makers, perhaps only Joseph Mankiewicz allowed his scripts,...
In Arthur Penn's intelligently unconventional private eye thriller Night Moves (1975), Gene Hackman's hero – who finds the mystery he faces as unfathomable as his personal relationships – is asked by his wife whether he wants to go to an Eric Rohmer movie. "I don't think so," he says. "I saw a Rohmer film once. It was kind of like watching paint dry."
Behind that exchange lies a jab at Hollywood's mistrust of any film-maker, especially a French one, who neglects plot and action in favour of cerebral exploration, metaphysical conceit and moral nuance. The Dream Factory, after all, had proved through trial and error that cinema is cinema, literature is literature, and the twain shall meet only provided the images rule, not the words.
Of the major American film-makers, perhaps only Joseph Mankiewicz allowed his scripts,...
- 1/13/2010
- by Ronald Bergan
- The Guardian - Film News
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