Emerging from his politically radical period of low-budget, didactic political commentaries with revolutionary overtones, produced primarily on 16mm or tape for television broadcast, prolific French avant-garde iconoclast Jean-Luc Godard unexpectedly returned to commercial filmmaking with Every Man for Himself, finding reinvention in the age of video — a new formal frontier for the now-middle-aged provocateur. Godard’s star-studded return to more conventional cinemas, featuring Isabelle Huppert, Nathalie Baye, and Jacques Dutronc as Paul Godard (of course), a loathsome filmmaker humiliated by having been reduced to working for a TV studio, though shy of being considered a phenomenon in France or elsewhere, was well-publicized worldwide. Uncharacteristically, the aging filmmaker promoted the film extensively, pensively referring to it as his “second first film,” a somewhat deadpan admission that, to begin again, he had to shed the baggage of his underground period. Through this mainstream amelioration began a self-reflective period of filmmaking, reverse-engineering his formal fascinations — disruptive non-linear editing,...
- 10/18/2017
- by The Film Stage
- The Film Stage
Jean-Pierre Melville in his own film, Two Men in Manhattan“A man isn't tiny or giant enough to defeat anything”—Yukio MishimaA voracious cinephile in his early youth, Jean-Pierre Grumbach's daily intake of films was interrupted by the Second World War when he enlisted in the Ffl (Forces Français Libres) and adopted the nom de guerre by which he's still known to these days: Jean-Pierre Melville. A tribute to his literary hero, Hermann Melville, and his novel Pierre: or the Ambiguities, the director would have his name officially changed after the war. The latter was to shape and inform many of his films and arguably all of his world-view, characterized by a sort of ethical cynicism where anti-fascism is understood as a moral duty rather than an act of heroic courage. Profoundly anti-rhetoric and filled with a terse dignity, his films about the Resistance, Army of Shadows (1969) above all,...
- 5/1/2017
- MUBI
If one must sell the restoration of a Jean-Luc Godard film and the original trailer for said film was, in fact, cut together by Godard himself, why not use it? Credit to Rialto Pictures, then, for selling the latest theatrical run of Band of Outsiders with his original preview — a peppy, jaunty work that tells you nothing about the film and nearly everything you might want to know.
If you live in New York, note that the film will begin screening at Film Forum on May 6. If you don’t, keep your fingers crossed that it eventually swings around — or just plunk down some money on Criterion’s beautiful-looking Blu-ray.
See the preview below:
In the dreary Parisian suburb of Joinville, Brasseur and Frey (“Belmondo’s suburban cousins” – Godard) take turns romancing English language student Karina, then light up when she mentions the big pile of cash stashed at her aunt’s villa.
If you live in New York, note that the film will begin screening at Film Forum on May 6. If you don’t, keep your fingers crossed that it eventually swings around — or just plunk down some money on Criterion’s beautiful-looking Blu-ray.
See the preview below:
In the dreary Parisian suburb of Joinville, Brasseur and Frey (“Belmondo’s suburban cousins” – Godard) take turns romancing English language student Karina, then light up when she mentions the big pile of cash stashed at her aunt’s villa.
- 4/6/2016
- by Nick Newman
- The Film Stage
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