It is seldom expressed much the work of Bertrand Tavernier abundant on the sunny terrace of the Hyatt Hotel yesterday morning. The director of The Clockmaker of St. Paul, Round Midnight, Coup de torchon many key works and gives way to other masters than himself. It is present in FFM his blows of heart, little known movies that deserve to him to move from darkness to light.
Great scholar of film, including co-author of the Bible 50 years of American cinema, as he attended the legendary filmmakers and theaters that his conversation is the journey through an endless film. "There is something comforting to many admire, says he quoted Victor Hugo. Those who ignore the past are condemned to repeat it. "
Memory is not pastiche.
Among the six films that will comment on today, tomorrow and Monday: Sweet is signed Claude Autant-Lara. Tavernier has defended a number of times, the director of Devil in the Flesh lampooned by The New Wave and François Truffaut in his famous article "A Certain Tendency in French Cinema." "Fans of Truffaut ignore rave reviews he did also in his films Crossing Paris and in case of disaster." At the end of his life associated with the National Front, Autant-Lara was dishonored by the thundering anti-Semitic statements. "He had a personality debatable, but signed humanist works. His early films made during the Occupation had a grace, freedom flights and then, as Sweet (1943), Odette Joyeux, addressing the barrier of caste about a feminist avant-garde. "
These filmmakers who understand the social issues with an edge fascinate Tavernier. To them, his favorites. Tel Sugar (1978) of French Jacques Ruffio, co-wrote with George Conchon on the shenanigans around a financial meltdown. "An unforgettable experience with Depardieu and Jean Carmet in perfect duo." As the moment of truth from Henri Calef (1965), from a screenplay by Edgar Morin. A former Nazi them posing as a Jewish Holocaust survivor who takes refuge in Israel, which frame the incredible passion.
Tavernier, former assistant to Jean-Pierre Melville, said he was attracted by the very young film noir. The American cinema of the 1940s, especially 1950. "These films expose the myths of their society: success, money, Puritanism. Often turned outside, they have aged better than many others. "Already in Lyon, Tavernier program as a film club works of American Andre de Toth. It's Pitfall comment here, where the director of an insurance company falls in love with the mistress of a crook. "Two women are the voice of morality of the film in scenes of vulnerability." As the menu: Cry Danger Robert Parrish (1951), he welcomed the dialogue as the modernity of tone, and The Prowler (1951 ) of the great Joseph Losey. "A fine example of what the creators were blocked by McCarthyism, using the scenario of nominees."
Tavernier's dream was of a series on French filmmakers pre-New Wave. Opportunity to discuss the Renoir, Melville, etc.., He knew, with humor and movie clips. Except that the monks of Canal +, principal owner of the rights of French cinema, say they always too busy to discuss it. Too busy, but too obtuse, we must believe ...
Great scholar of film, including co-author of the Bible 50 years of American cinema, as he attended the legendary filmmakers and theaters that his conversation is the journey through an endless film. "There is something comforting to many admire, says he quoted Victor Hugo. Those who ignore the past are condemned to repeat it. "
Memory is not pastiche.
Among the six films that will comment on today, tomorrow and Monday: Sweet is signed Claude Autant-Lara. Tavernier has defended a number of times, the director of Devil in the Flesh lampooned by The New Wave and François Truffaut in his famous article "A Certain Tendency in French Cinema." "Fans of Truffaut ignore rave reviews he did also in his films Crossing Paris and in case of disaster." At the end of his life associated with the National Front, Autant-Lara was dishonored by the thundering anti-Semitic statements. "He had a personality debatable, but signed humanist works. His early films made during the Occupation had a grace, freedom flights and then, as Sweet (1943), Odette Joyeux, addressing the barrier of caste about a feminist avant-garde. "
These filmmakers who understand the social issues with an edge fascinate Tavernier. To them, his favorites. Tel Sugar (1978) of French Jacques Ruffio, co-wrote with George Conchon on the shenanigans around a financial meltdown. "An unforgettable experience with Depardieu and Jean Carmet in perfect duo." As the moment of truth from Henri Calef (1965), from a screenplay by Edgar Morin. A former Nazi them posing as a Jewish Holocaust survivor who takes refuge in Israel, which frame the incredible passion. Tavernier, former assistant to Jean-Pierre Melville, said he was attracted by the very young film noir. The American cinema of the 1940s, especially 1950. "These films expose the myths of their society: success, money, Puritanism. Often turned outside, they have aged better than many others. "Already in Lyon, Tavernier program as a film club works of American Andre de Toth. It's Pitfall comment here, where the director of an insurance company falls in love with the mistress of a crook. "Two women are the voice of morality of the film in scenes of vulnerability." As the menu: Cry Danger Robert Parrish (1951), he welcomed the dialogue as the modernity of tone, and The Prowler (1951 ) of the great Joseph Losey. "A fine example of what the creators were blocked by McCarthyism, using the scenario of nominees."
Tavernier's dream was of a series on French filmmakers pre-New Wave. Opportunity to discuss the Renoir, Melville, etc.., He knew, with humor and movie clips. Except that the monks of Canal +, principal owner of the rights of French cinema, say they always too busy to discuss it. Too busy, but too obtuse, we must believe ...
Source : ledevoir
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