Archive for Touchez Pas Au Grisbi

It All Ties Together

Posted in FILM with tags , , , , , , , , , , , , , , , , on July 2, 2016 by dcairns

the-kiss-before-the-mirror

In James Whale’s THE KISS BEFORE THE MIRROR, Nancy Carroll is an unfaithful wife named Maria living in fear of her murderously jealous husband, Paul (Frank Morgan).

In Jean Epstein’s COEUR FIDELE. Gina Manes is an unfaithful wife named Maria living in fear of her murderously jealous husband, Paul (Edmond Van Daele).

In James Whale’s REMEMBER LAST NIGHT?, Gustaf Von Seyffertitz is a German psychoanalyst shot while attempting to reconstruct a crime.

In Lewis Milestone’s THE FRONT PAGE, Gustaf Von Seyffertitz is a German psychoanalyst shot while attempting to reconstruct a crime.

In THE MYSTERY OF THE LEAPING FISH, Douglas Fairbanks snorts coke.

In TOUCHEZ-PAS AU GRISBI, Jeanne Moreau snorts coke.

In ONE-EYED JACKS, Marlon Brando is tormented by a corrupt sheriff.

In THE HALF-BREED, Douglas Fairbanks is persecuted by a corrupt sheriff.

In KING OF JAZZ, a man plunges his hands into a tank of goldfish.

In Louis Lumiere’s LA PECHE AU POISSONS ROUGES, a baby plunges his hands into a bowl of goldfish.

All these films played the day before yesterday in Bologna. Cinema is imploding into a kind of primal atom.

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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…

Quote of the Day: Frere Jacques

Posted in FILM with tags , , , , , , , , , , , , , , , , on April 12, 2008 by dcairns

“Like Moliere, Jacques Becker died on a strange and terrible battlefield: that of artisitic creation. It was the moment when Caroline bites her finger till she draws blood because she has left Edouard, when Golden Marie (Cristobal’s Gold, or course) forces back her tears as Manda climbs the scaffold. It was Saturday evening. The studio phoned to say that the mixing of LE TROU was finally complete. Our btoher Jacques breathed again. Mortally wounded for so long, he could now give up the struggle without dishonour. And a few minutes later, Jacques Becker was no longer alive. It was Sunday morning, the hour when Max plays his favourite record, when Lupin meets the Princess at Maxim’s when day finally dawns over 7 rue de l’Estrapade.

“There are several good ways of making French films. Italian style, like Renoir. Viennese, like Ophuls. New Yorker, like Melville. But only Becker was and is French as France, French as Fontenelle’s rose and Bonnot’s gang. I happened to meet him during the sound mixing of LE TROU. Already ill, he was more handsome than ever. He talked about Les Trois Mousquetaires and suddenly I understood. That dark moustache, than grey hair … he was D’Artagnan in Twenty Years After. And he was Lupin too. Just compare a photograph of Becker seated behind the wheel of his Mercedes with the opening shot of LES AVENTURES DE ARSENE LUPIN and you will see that Robert Lamoureux was his spitting image.

Slightly singed.

“So Jacques Lupin, alias Artagnan Becker, is dead. Let us pretend to be moved, for we know from LE TESTAMENT D’ORPHEE that poets only pretend to die.”

~ Jean-Luc Godard, Cahiers du Cinema 106, April 1960. Quoted in Godard on Godard, translated and edited by Tom Milne.

[Includes references to Becker’s EDOUARD ET CAROLINE (1951), L’OR DU CRISTOBAL (1940), CASQUE D’OR (1952), TOUCHEZ PAS AU GRISBI (1954), LES AVENTURES D’ARSENE LUPIN (1957), RUE DE L’ESTRAPADE (1953). Becker was planning a film of Dumas’ The Three Musketeers.]

Surprisingly emotional stuff from Godard, I thought. And a reminder that I need to take a look at some of the Becker films lurking in my collection. I saw TOUCHEZ PAS AU GRISBI back in the ’80s, I think, but don’t remember a thing. But I love that feeling of watching a long-forgotten movie and feeling it all come back.