Cinéphile

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Archive for the category “New Wave Cinema”

TRANS-EUROP-EXPRESS (1966)

Trans-Europ-Express

A film by Alain Robbe-Grillet

Cast: Jean-Louis Trintignant, Marie-France Pisier, Christian Barbier

Here is a director that I did not know I finally saw a film from him and man I am not disappointed at all. Here it is at theme they was this new train coming out called the Trans-Europ-Express it was the deluxe train, inside there were glass doors and Alain Robbe-Grillet the director liked it because it reflected images well once he film inside. Also it is the first film film on a train, usually they film it in the studio. You do not know really what is going on in the story.

It is a film Neo-Noir that has 4 stages. First you have the writer played by Alain Robbe-Grillet,  the script girl, and the producer who thinks that this train is cool and need to do a movie about it. Stage 2: is Alias ( Jean-Louis Trintignant) who is this drug dealer trying to pass drug from Paris to Belgium. Stage 3 The police man who follows Alias and Stage 4 the prostitute that Alias sees. The thing is you do not know what is going on in the story and where is it going to take you. Alain  did not want to do a film like everybody, he wanted to do his own story. The film is a little parody of the old New Wave crime eroticism movies, and the process, in general, by which films are thought out, or not. Alias played by Jean-Louis Trintignant has this perversion fetish, he is a sado-masochistic and go see a prostitute. It is Alain fantasies he also lived it and he said in an interview it is different to film the fantasy that I lived. Living it was much better than filming it in the way when you film it you become the voyeur to me. Alain got along well with Trintignant which also loved Marie-France Pisier who played the prostitute. Pay attention  the way he filmed the sex scene it is beautifully well done here. There is one thing that is going to shock you is that Alias is a different gangster he tells the truth and yes the film is a little bit off beat here. But seriously here I think it is his master piece here but I have to see the rest of his films.

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ALPHAVILLE (1965)

Lemmy Caution, an American private-eye, arrives in Alphaville, a futuristic city on another planet. His very American character is at odds with the city’s ruler, an evil scientist named Von Braun, who has outlawed love and self-expression. The line by Alpha60 that begins “Time is the substance of which I am made” is paraphrased from the 1946 essay “A New Refutation of Time” by famous Argentinean writer and fantasist Jorge Luis Borges, which reads: “Our destiny is not frightful by being unreal; it is frightful because it is irreversible and iron-clad. Time is the substance I am made of. Time is a river which sweeps me along, but I am the river; it is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire. The world, unfortunately, is real; I, unfortunately, am Borges.” Inspired the name of the German rock group Alphaville. Despite the fact that the film is a work of science fiction and supposed to be in a city of the future, all the sets were existing locations in Paris in 1965, and all the weapons are conventional firearms.

LE TRACASSIN (1961)

Andre Loriot works Psychochimie Laboratories, which thanks to its slogan Good humor is good health sells health pills relaxation. And that’s good, because with the day that will live, Andre is going to need a good dose.

LA GROSSE CAISSE(1965)

U.S title the big swag. An other great film by Bourvil My grandfather favorite actor beside Jean Gabin. Louis Bourdin, a humble subway ticket puncher at RATP, boastful but cowardly, working at the station Quai de la Rapee. He is so fond of detective stories he wrote one himself. He adopted the pseudonym of Lenormand, and his novel entitled “Rape in the RATP”: the imaginary history of robbery of the train to Finance, which collects daily recipe stations at the end of service, flight he describes with great detail. He proposed to several publishers. Disdaining the latter, he will receive, unwisely, a different profession … grateful, but dangerous! Wounded by the refusal of publishers, and by the taunts of his colleagues, despite Bourdin encouraged by real gangsters to carry out the plan described in his novel, to ensure his literary success, and seduce Angélique, the punching of the dock opposite. In the cafe facing the prison of Health, bringing the name of good health, he tries to approach a gangster released from prison by slipping him the plan of action in his jacket pocket. But his choice is made quickly on a famous gangster, Filippi, true “aristocrat of crime”. Approach it the same way in a bowling alley, it is very interested in the script and wants to follow to the letter. But it requires Bourdin to become an accessory to enable its realization and follow the plan outlined in the novel. Family film you will love it.

TWO MEN IN MAHATTAN (1959)

French director Jean-Pierre Melville is known for directing several classic films such as Bob le flambeur (1956) and Le samouraï (1967), but he also did some acting over the course of his career. However, his only starring role was in his own 1959 crime film Two Men in Manhattan, where he plays a journalist named Moreau who is assigned to find out why a French diplomat named Fèvre-Berthier was absent from a United Nations council meeting. With his photographer friend Delmas (Pierre Grasset), Moreau suspects a female lover might be involved and follows clues from woman to woman in the night of New York City, a place that never sleeps. There also seems to be a car following Moreau and Delmas…Said to be a combination of American film noir and the budding French New Wave movement, Two Men in Manhattan very neatly utilizes the good sides of both styles. The urban street views and skyscrapers look excellent in the glow of the bright ad signs on store marquees and the dark, stark lighting set up for interior scenes is a joy to the eye too. The laid-back jazz soundtrack is highly enjoyable, creating a mood softer than in hard boiled detective noirs, even though the seedy locations would fit in such flicks seamlessly as well.

LE TROU (1960)

Just as 4 cell-mates are about to launch their elaborate escape from a tiny cell, a detainee from a cell-block under repair is transferred in. The 4 all face certain conviction & long sentences. Does the young new jail-mate have the same incentive & if so can they trust him. Director Jacques Becker used mainly non-actors for purposes of authenticity. In fact, one of his choices was actually involved in the 1947 escape. Becker died two weeks after completing the film. La Sante prison was replicated right down to the smallest details, thanks to the help of the three actual members of the escape whom Becker hired to serve as production consultants. Shot over a period of 10 weeks. Jean-Pierre Melville regarded this as one of the greatest French films ever made and he his right.

LE CIRCLE ROUGE (1970)

Corey is a cool, aristocratic thief, released from prison on the same day that Vogel, a murderer, escapes from the custody of the patient Mattei, a cat-loving police superintendent. Corey robs Rico, his mob boss, then enlists Vogel and an ex-police sharpshooter, Jansen, in a jewel heist. While Corey is harried by the vengeful Rico, Mattei pressures Santi, a nightclub owner and pimp, to help him trap the thieves. Over all hangs the judgment of the police directeur, that every man is guilty. Captain Mattei, the role played by Bourvil, was originally offered to Lino Ventura; the role of Jansen, played by Yves Montand, was originally offered to Paul Meurisse; and Jean-Paul Belmondo was originally planned to play the role of Vogel ultimately played by Gian Maria Volonté. Jean-Pierre Melville said he originally wrote a version of the jewel heist scene in 1950, but after The Asphalt Jungle (and, later, Rififi) came out, he shelved the idea until 1970. Director Jean-Pierre Melville’s green Ford Mustang can be seen in the line of cars at the Corey’s (‘Alain Delon’) first border crossing. One of Aki Kaurismäki’s favorite films. The heist scene lasts 25 minutes, with no word being spoken. enjoy this one as I did.

L’ARMEE DES HOMBRES (1969)

Army of shadows is considered melville masterpiece and what a great movie it is. France, 1942, during the occupation. Philippe Gerbier, a civil engineer, is one of the French Resistance’s chiefs. Given away by a traitor, he is interned in a camp. He manages to escape, and joins his network at Marseilles, where he makes the traitor be executed… This non-spectacular movie (do not expect any Rambo or Robin Hood) shows us rigorously and austerely the everyday of the French Resistants : their solitude, their fears, their relationships, the arrests, the forwarding of orders and their carrying out… Both writer Joseph Kessel and co-writer and director Jean-Pierre Melville belonged to this “Army in the Shadows”. For the shot depicting German soldiers marching down the Champs Elysees, Jean-Pierre Melville thought that it would be impossible to get regular Frenchmen to provide the proper marching movements. He ended up casting dancers to correctly provide the march steps he wanted from the soldiers. This shot was originally the last in the film and prints were sent to theaters with it in that place. After the first showings, Melville decided the scene was better placed at the start of the film and it was physically spliced into the new position. This apparently resulted in several missing frames in the negative. These frames were restored from another source when the 2005 digital restoratioCinematographer Pierre Lhomme claimed that the last surviving, watchable print of the movie had turned completely pink with age. He later supervised the 2k resolution, digital restoration of the film at the Eclair Laboratories in Paris. n was accomplished.

LE JARDINIER D’AGENTEUIL (1966)

Jean Gabin plays a retired race track gambler (Tulipe) who spends his time in his hobby garden. When he is approached by some relatives to “lauder” counterfeit Francs, he reluctantly develops a grandiose scheme to exchange the “blossoms” into real cash at the tracks. A film without violence for the whole family.

LES GRANDES FAMILLES (1958)

Jean Gabin (Noël Schoudler) is like a family-president in this movie by Denys de La Patellière based on a novel by Maurice Druon. His son François (Jean Desailly) is not competent to direct the family-business (a sugar factory), the banks, the press-company, or is he? At his opposite Simon, his future son-in-law (Bernard Blier) is the right hand of Schoudler and acts as Schoudler supposes an intelligent man does. At the end of the movie Lucien Maublanc, the nephew of Schoudler and driven by 20-years hate of him (Lucien is played by a magnificent Pierre Brasseur) shouts at his brokers in the Stock Exchange: “C’est bien la famille!”. Schoudler will make a mistake of judgment about his son with fatal consequences… This family-tragedy is told with the skill of a director who knows how to bring a novel into a movie.

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