Archive for Christian-Jaque

12 Angry Films

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 23, 2008 by dcairns

There’s a mutating meme coursing across the interweb — bloggers challenging each other to name twelve films they haven’t seen. The task varies from blog to blog, sometimes amounting to a confession of what well-known or important movies the author hasn’t caught up with, sometimes tending towards a list of extreme rarities that nobody can find.

I think both lists have value. Maybe somebody out there will be able to help me out with the films I want to get my mitts on. And maybe naming the films I haven’t seen will shame me into watching them. I also like the Self-Styled Siren’s approach, which involves listing twelve films in her collection which she hasn’t gotten around to running yet (including LA FIN DU JOUR!).

So my first list will be twelve rare films that I went to considerable effort to get, then didn’t watch.

1. THE POWER AND THE GLORY. An early Preston Sturges screenplay. Looked for this for AGES, finally got it a couple months ago. Haven’t even peeked at it. What a maroon!

2. Early Hitchcock. I’ve seen most of the thrillers, but odd things like RICH AND STRANGE are sitting neglected. Nice quality, from the recent box set of early Hitch… I’m contemplating spending a whole week running all the Hitch I haven’t seen. Yep, I’m CONTEMPLATING it…

3. Murnau’s TARTUFFE. Bought the Kino edition from America. I keep putting it on, then getting distracted. It may not be major Murnau, but it certainly has inspired bits (I love the style of the modern framing story more than the actual Moliere adaptation), and if I watched it properly who knows what I’d get out of it?

4. Michael Powell’s quota quickies. A fascinating glimpse into the creative process: watch Powell slowly spread his wings and try things out and gain confidence, on threadbare budgets and schedules so brief the Kleig lights barely have time to warm up. I have a number of these, all more or less unwatched. Let CROWN VS STEVENS stand for them all.

5. UN REVENANT. A fog-bound Parisian gangster film in the poetic realist vein, directed by Christian-Jaque and starring the mighty Louis Jouvet. I paid good money for a fine copy of this. So why haven’t I watched it, two years later? BECAUSE I AM AN ARSE.

6. Resnais’s MURIEL. Got very excited about seeing this, bought it, watched ten minutes, was intrigued, got interrupted, never went back. I’m dreadful. A failure as a man, and as an assemblage of molecules.

7. LES ORGEILLEUX. Gerard Philipe gives an astonishing performance (I peeked) in Yves Allegret and Rafael E Portas’ sensational drama. An unusually articulate IMDb reviewer calls it “one of the greatest films I’ve ever seen”. It may be one of the greatest films I haven’t seen. How would I know?

8. THE HUMAN CONDITION. Masaki Kobayashi’s nine-hour three-film extravaganza, released by Criterion but now out of print. Miraculously got a copy via Mark Cousins, then failed to watch it. Kobayashi is one Fiona’s very favourite filmmakers, but I think the phrase “nine hours” is putting her off.

9. MARILYN. Wolf Rilla (VILLAGE OF THE DAMNED) directs this British B-movie answer to THE POSTMAN ALWAYS RINGS TWICE. Got a surprise TV airing this year, I recorded it. Then kind of set it to one side. We met Wolf Rilla’s son once, Nico Rilla. He recommended a Rilla movie with a terrific title: THE WORLD TEN TIMES OVER.

10. THE HONEYMOON KILLERS. Perfectly nice pre-record boxed DVD of this lying on the living room floor amid a heap. And yes, I know Scorsese directed part of it, I know the story behind his firing, and I was able to use that information to work out which bits he directed. And I’ve watched those bits. But I need to watch the whole thing!

11. LE TROU. I have this Jacques Becker crime yarn in a beautiful Criterion Collection edition, (and TOUCHEZ PAS AU GRISBI too). I loan it to people. They watch it. I don’t. And yet I liked CASQUE D’OR quite a bit.

12. UNDERWORLD BEAUTY. I do like a Seijun Suzuki yakuza flick. I’ve watched BRANDED TO KILL numerous times (I still get utterly confused). And yet this one remains unwatched. I am an idiot!

Of course, I’ve barely scratched the surface…

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Modesty Forbids…

Posted in FILM with tags , , , , on September 4, 2008 by dcairns

…but if someone out there would like to head over to the Criterion Collection Forum and put in a mention of my Great Duvivier Giveaway, maybe we can promote the idea of a Criterion release for LA FIN DU JOUR.

It has been pointed out to me that the G.D.G. kinda-sorta violates international copyright law, but (a) I will stop giving away free DVDs if somebody releases the film on DVD with subtitles and (b) if I get people excited about this film, maybe it can get an official release and the copyright holder can make some money out of it. Pleasingly, none of the film enthusiasts I’ve heard from via the blog give two figs for international copyright law.

Criterion seems like a good bet because they’re really good, and they also released Duvivier’s PEPE LE MOKO, the only one of his French films to really have a profile and reputation at present (in substantial part due to their making it available). They’ve also released several Clouzots and are bringing out Christian-Jaque’s FANFAN LA TULIPE, a riproaring swashbuckling comedy that’s a great deal of fun. So they seem to have the right mind-set.

One of the things we lose out on by not having films from this period in abundance is the ability to enjoy gorgeous actors of genius like Gerard Philippe (how much of his oeuvre is out on disc? Very little, I fear) and Micheline Presle, and character stars like Louis Jouvet and Michel Simon. Even much of Brigitte Bardot’s best work is impossible to see, although one would think that would be commercial enough.

Oh, and if everybody with a blog or discussion board or e-zine could mention this fabulous free offer too, that’d be nice.

Some of you in the UK should have your discs by now — sign in below and let me know if you have. We’ll have another post later where we can discuss the appalling quality of the DVD and the excellent quality of the film…

The End of Their Day

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , on August 29, 2008 by dcairns

Truffaut once told Marcel Carné that Carné’s LES ENFANTS DU PARADIS was worth more than his own entire oeuvre. Carné replied, “It’s a shame you’re not a critic anymore.”

The reason for this bad grace is easy enough to see. During his days at Cahiers du Cinema, Truffaut had been persistently negative about Carné and most of his contemporaries (Renoir alone could do no wrong). Although there was considerable variation among the Cahiers critics (Godard liked one René Clair film, LE QUATORZE JUILLET, for its portrayal of working-class holiday activities, but Truffaut hated them all), a broad general consensus could be found. Carné, Clair, Clouzot, Duvivier, Yves and Marc Allégret, Christian-Jacque and Claude Autant-Lara represented the paternalistic, old-fashioned “cinema du papa”, or “tradition of quality”. The goal was to destroy this brand of filmmaking (Rivette awarded a symbolic “bullet” to every Duvivier film released during his time at Cahiers — the bullet means “You’d be better off staying home than seeing this,” but it obviously has another, even more hostile implication).

In fact, Cahiers was always a pretty small-circulation magazine, and although the attacks on France’s sacred cows got plenty of attention, they certainly didn’t finish anyone’s career. Even René Clair, who withdrew from cinema with a feeling of having outlived his time, didn’t do so until the mid-sixties, some time after the Cahiers broadsides started.

The movement of Cahiers critics into film-making had a greater effect on the old guard. Godard, Truffaut, Chabrol and Rivette demonstrated in film what they could only argue in print, that it was time for more modern techniques and younger blood. In addition, the whole cultural scene was moving on, so that even without those iconoclasts, filmmakers who had been active since the ’20s were starting to look out of touch.

And it’s true that many of the old guard were no longer making their very best work. The infusion of freshness brought by the nouvelle vague cannot be underestimated: it must have been like the coming of rock ‘n’ roll. But the very politique des auteurs which they represented can be used to argue that film culture would have been richer if the cinema du papa crowd had all been allowed to continue making films alongside the new guys. It’s possible the nouvelle vague thought so too: Truffaut made his generous remark to Carné after his own directing career was in full bloom. Mostly hostile to Clouzot in reviews, he later paid tribute to LE CORBEAU and urged the director to return to filmmaking, resulting in the neglected masterpiece LA PRISONNIERE, a tale of kinky sexual shenanigans among the kinetic art set:

When you get into a director, it can lead you to appreciate the lesser films for their role in the body of work as a whole. Sometimes, what look like failures can assume greater stature in the light of the rest of the corpus. Certainly, only hardcore Hawksians treasure the director’s later works like RED LINE 7000, which is likely to seem extremely old-fashioned for a 1965 movie unless you go into it with a sympathetic eye for the filmmaker’s trademark concerns and mannerisms. Some will even place this film maudit amongst Hawks’ best achievements, and make a solid case.

Similarly, it’s undoubtedly a Good Thing that Chabrol and Godard and Rivette are still with us and still making films, along with contemporaries like Varda and Marker.

I haven’t seen Carné’s last film, 1977’s LA BIBLE (the film of the book?) but his 1974 LA VISITE MARVELLEUSE, a sort of hippy version of an H.G. Wells story, is very lovely. It has the same love of the fantastic and the same doomed romanticism of classic WWII-era Carné. Based on that, I’d like him to have made more late films. I’d even like to see his much-derided juvie delinquent drama LES TRICHEURS (1958).

http://tsutpen.blogspot.com

Julien Duvivier is a filmmaker I have a special affection for. He kept going despite the change in fashions until his death aged 70 in a car crash. I suspect he represented a special offense to the Cahiers boys, since he spoke of himself as a craftsman and always gave principle credit to his writers, notably Charles Spaak and Henri Jeanson. He was as far from the politique des auteurs as you can get. I think he’s a marvellous filmmaker, and I deplore the absence of most of his French-language work from the marketplace. PEPE LE MOKO is rightly hailed as a masterpiece of the poetic realist school, and available on a magnificent Criterion disc, but apart from the (justly acclaimed) American films, it’s nearly impossible to appreciate any of his works unless you speak French. Even in France the number of his films available is pitiful. For this reason alone, the Cahiers/nouvelle vague attacks are to be regretted: Duvivier’s reputation has slipped into the shade, with the result that it’s extremely hard to see his films and reassess them.

From AU BONHEURS DES DAMES — an eeeaaarly Duvivier.

Well, maybe it’s hard for one blog to make much of a difference in the face of 40 years of neglect, but we do what we can. Starting shortly, THE GREAT DUVIVIER GIVEAWAY will attempt to popularise and reclaim from history a 1939 masterpiece that’s been shunted into the sidings of obscurity. Watch this space and CLAIM YOUR FREE FILM, and your place in nothing less than the rewriting of movie history.