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
When, back in 2012, Il Cinema Ritrovato presented a retrospective of films by Jean Grémillon (1901 - 1959) and Criterion followed up by releasing Eclipse Series 34: Jean Grémillon During the Occupation, I posted a roundup collecting that summer's wave of nearly ecstatic critical reception. Now New Yorkers have the opportunity to see twelve features and eight shorts on the Museum of the Moving Image's big screen, and we're tracking a second wave. So far: The New York Times on Remorques (1941), Reverse Shot on Maldone (1928) and more. The Jean Grémillon retrospective opened yesterday and runs through December 21. » - David Hudson...
- 11/22/2014
- Keyframe
When, back in 2012, Il Cinema Ritrovato presented a retrospective of films by Jean Grémillon (1901 - 1959) and Criterion followed up by releasing Eclipse Series 34: Jean Grémillon During the Occupation, I posted a roundup collecting that summer's wave of nearly ecstatic critical reception. Now New Yorkers have the opportunity to see twelve features and eight shorts on the Museum of the Moving Image's big screen, and we're tracking a second wave. So far: The New York Times on Remorques (1941), Reverse Shot on Maldone (1928) and more. The Jean Grémillon retrospective opened yesterday and runs through December 21. » - David Hudson...
- 11/22/2014
- Fandor: Keyframe
Above: L'amour d'une femme.
Edinburgh International Film Festival, under the direction of Chris Fujiwara, has ended for the year, and with it the Jean Grémillon retrospective, Symphonies of Life. Gathering most of the features (saving a few for-hire assignments) and all the surviving shorts, the season afforded an overview rarely possible with this neglected filmmaker.
Though the shorts were not my favorite Grémillons, they do illuminate the rest of his body of work. Documentaries on alchemy and astrology expose the filmmaker's fascination with the esoteric sciences, a major part of his life, which informs the tarot scenes in Lumière d'été and Maldone, where the cards indeed know all. Grémillon's sonorous, dreamy tones probably make him the greatest director-narrator outside of Orson Welles, and his self-penned music may be the finest outside of Chaplin's. The festival also played, at a fascinating symposium, the player piano score Grémillon wrote for a lost silent short,...
Edinburgh International Film Festival, under the direction of Chris Fujiwara, has ended for the year, and with it the Jean Grémillon retrospective, Symphonies of Life. Gathering most of the features (saving a few for-hire assignments) and all the surviving shorts, the season afforded an overview rarely possible with this neglected filmmaker.
Though the shorts were not my favorite Grémillons, they do illuminate the rest of his body of work. Documentaries on alchemy and astrology expose the filmmaker's fascination with the esoteric sciences, a major part of his life, which informs the tarot scenes in Lumière d'été and Maldone, where the cards indeed know all. Grémillon's sonorous, dreamy tones probably make him the greatest director-narrator outside of Orson Welles, and his self-penned music may be the finest outside of Chaplin's. The festival also played, at a fascinating symposium, the player piano score Grémillon wrote for a lost silent short,...
- 7/8/2013
- by Notebook
- MUBI
Edinburgh International Film Festival today announced it will feature a Jean Grémillon retrospective this year. It has also announced the return of the popular Audience Award, which was last awarded in 2010.
French director Grémillon - known for some of the most highly regarded French films of the German Occupation - began filmmaking in the 1920s. The festival said: "Grémillon made the transition from silent to sound cinema, and his early sound films are notable for their innovative and imaginative use of music and sound effects. His late documentary shorts reflect his continuing experimentation with the medium of film and his strong links to the avant-garde and the other arts."
The Retrospective will include Remorques (Stormy Waters; 1940), Lumière d'été (Summer Light; 1942), and Le Ciel Est à Vous (The Sky Is Yours; 1944), together with key examples of his imaginative silent work such as Maldone (1928) and Gardiens De Phare (The...
French director Grémillon - known for some of the most highly regarded French films of the German Occupation - began filmmaking in the 1920s. The festival said: "Grémillon made the transition from silent to sound cinema, and his early sound films are notable for their innovative and imaginative use of music and sound effects. His late documentary shorts reflect his continuing experimentation with the medium of film and his strong links to the avant-garde and the other arts."
The Retrospective will include Remorques (Stormy Waters; 1940), Lumière d'été (Summer Light; 1942), and Le Ciel Est à Vous (The Sky Is Yours; 1944), together with key examples of his imaginative silent work such as Maldone (1928) and Gardiens De Phare (The...
- 2/11/2013
- by Amber Wilkinson
- eyeforfilm.co.uk
Every time I watch a Jean Grémillon film I feel compelled to write about the experience here. Either the films are excellent, like Gueule d'amour, or they're something more than that, like Maldone or La petite Lise—attempts to reinvent cinema or to send the talking picture spinning off into a new direction.
Daïnah la métisse (1932) shows Gremillon still pushing the expressive possibilities of sound cinema that he had opened up in the poorly-received La petite Lise. If the rejection of that first talkie, regarded as both too seedy and downbeat and too experimental and strange, caused him to rethink his approach, there's little evidence here, since Daïnah is a tragic tale delivered with a similarly somnambular pace, making free use of unexpected angles and a bold approach to both sound effects and narrative. It's as if Grémillon trusted the world to come around to his way of looking at things.
Daïnah la métisse (1932) shows Gremillon still pushing the expressive possibilities of sound cinema that he had opened up in the poorly-received La petite Lise. If the rejection of that first talkie, regarded as both too seedy and downbeat and too experimental and strange, caused him to rethink his approach, there's little evidence here, since Daïnah is a tragic tale delivered with a similarly somnambular pace, making free use of unexpected angles and a bold approach to both sound effects and narrative. It's as if Grémillon trusted the world to come around to his way of looking at things.
- 8/23/2012
- MUBI
Introduction
In Laissez-passer [Safe Conduct], the film that the French director Bertrand Tavernier made in 2002, we see the French film industry of the Occupation years as a ruined and almost shut-down institution that is highly dependent on the factor of chance. In his story, Tavernier exculpates one of the key figures of the occupation cinema, Henri-Georges Clouzot, from the accusation of collaborating with the Nazis. He pictures Clouzot as a man whose Jewish wife has been held hostage by the Nazis and, and against all odds, he finishes Le corbeau about the vicious and nasty people of a small town in France, where someone is sending poison pen letters to its "honourable" citizens. Le corbeau became a very popular box-office hit during the Occupation, and, at the same time, the underground press attacked it for showing France as a land of the degenerate and perverted people, a view that, according to accusers,...
In Laissez-passer [Safe Conduct], the film that the French director Bertrand Tavernier made in 2002, we see the French film industry of the Occupation years as a ruined and almost shut-down institution that is highly dependent on the factor of chance. In his story, Tavernier exculpates one of the key figures of the occupation cinema, Henri-Georges Clouzot, from the accusation of collaborating with the Nazis. He pictures Clouzot as a man whose Jewish wife has been held hostage by the Nazis and, and against all odds, he finishes Le corbeau about the vicious and nasty people of a small town in France, where someone is sending poison pen letters to its "honourable" citizens. Le corbeau became a very popular box-office hit during the Occupation, and, at the same time, the underground press attacked it for showing France as a land of the degenerate and perverted people, a view that, according to accusers,...
- 7/16/2012
- MUBI
Above: Max Ophüls' Komedie om geld. Image courtesy of Cineteca di Bologna.
The 26th edition of Il Cinema Ritrovato is over—like the end of a dream. If you are lucky enough, and not so fond of sleeping and eating, and also have little social bonds that allow you the minimum of lingering with fellow cinephiles, then you would be able to see only 10 percent of the films shown at the festival. As much as it's a festival of discovery and cinephilia, it’s also a festival of guilt and regrets since you ineluctably miss many things.
Il Cinema Ritrovato is a miniature of life that among all the beautiful things you have to choose, and every decision grants you a piece of the truth. But all the images, all the pieces of this broken mirror in which we see ourselves is as valid as what the person next to me,...
The 26th edition of Il Cinema Ritrovato is over—like the end of a dream. If you are lucky enough, and not so fond of sleeping and eating, and also have little social bonds that allow you the minimum of lingering with fellow cinephiles, then you would be able to see only 10 percent of the films shown at the festival. As much as it's a festival of discovery and cinephilia, it’s also a festival of guilt and regrets since you ineluctably miss many things.
Il Cinema Ritrovato is a miniature of life that among all the beautiful things you have to choose, and every decision grants you a piece of the truth. But all the images, all the pieces of this broken mirror in which we see ourselves is as valid as what the person next to me,...
- 7/6/2012
- MUBI
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