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20 articles from 2009
勝手にしやがれ: Japanese Film & Media on Its Own Terms, #1: Out of Sight
19 hours ago
| The Auteurs
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勝手にしやがれ (Katte Ni Shiyagare)
In François Truffaut’s fourth episode of the Antoine Doinel saga, Bed and Board (1970), Antoine (Jean-Pierre Léaud) embarks on an affair with a Japanese woman, Kyoko (Hiroko Berghauer), culminating in a restaurant sequence in which Antoine keeps excusing himself to call his wife Christine (Claude Jade). Kyoko exits the restaurant, leaving a small piece of paper on which she’s written, in kanji, ‘katte ni shiyagare,’ a declaration of frustration and independence, of having had enough, which can be translated politely, as above, as well as in a far more casual manner. Antoine is unable to read this of course, it suffices that she’s gone. In Truffaut’s film, this subtitle appears on the shot of the brief note, ‘va te faire foutre’/'go to hell'. What French audiences at the time did not know at the time was that this Japanese expression was also
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"Masculin féminin": A Film in Several Acts About Youth and Sex
17 December 2009 9:49 PM, PST
| The Auteurs
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"Not since Dw Griffith was knocking out a weekly two-reeler at the Biograph studio on 14th Street had there been anything to equal the 15-feature run that Jean-Luc Godard began with Breathless (1960) and ended, still accelerating, in the cataclysm of Weekend (1967)," J Hoberman wrote in the Voice back in 2005. "Directed by anyone else, Masculine Feminine - one of three movies that Godard made in his peak year, 1966 - would be a masterpiece. For the young Jlg it's business as usual."
Much of last summer was spent looking back at 1968, forty years on, and of course, the 60s in general. Accordingly, Film Forum ran a series, Godard's 60s, and Masculin féminin, today's feature in the Recyclage de luxe Online Film Festival, was part of the lineup. Click here, scroll way down the film's section and you'll see that you can download a 13-minute introduction to the May 25 screening by Richard Brody,
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Tao Ruspoli's Top Ten Films of All Time
12 December 2009 6:25 PM, PST
| ioncinema
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Godard's Breathless is the film that made me want to become a filmmaker. I saw it my freshman year in college and I couldn't believe how a director could take a few great characters and a mostly hand-held camera and make a film that said so much about life in a world in which absolute values had become irrelevant (both filmically and ethically.) And what a face Belmondo had! - Have you ever wondered what are the films that inspire the next generation of filmmakers? As part of our monthly Ioncinephile profile (read here), we ask the filmmaker the incredibly arduous task of identifying their top ten list of all time favorite films. This month we profile Tao Ruspoli, helmer behind Fix which ropens November 20th at the Village East in NY. He gave us his top ten (as of November 2009).
8 1/2 (1963) Federico Fellini I'm sure this film has been on this list 100 times,
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- Ioncinema.com Staff
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TCM Classic Film Festival: A Star Is Born, Metropolis, Breathless, 2001
18 November 2009 2:23 PM, PST
| Alt Film Guide
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Judy Garland in A Star Is Born (top); Brigitte Helm in Metropolis (middle); Jean-Paul Belmondo, Jean Seberg in Breathless (bottom)
Turner Classic Movies‘ first-ever TCM Classic Film Festival, which will be held on April 22-25, 2010, in Hollywood, will feature the world premiere of a newly restored edition of George Cukor’s A Star is Born (1954), starring Judy Garland and James Mason; the North American premiere of the restored version of Fritz Lang’s Metropolis (1927); and a 50th anniversary screening of Jean-Luc Godard’s Breathless, starring Jean-Paul Belmondo and Jean Seberg.
The TCM Classic Film Festival will also feature a special presentation of Stanley Kubrick’s 2001: A Space Odyssey, including a discussion with Oscar-winning visual-effects artist [...]
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- Andre Soares
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Berlin 2010: Play it Again …! Series
11 November 2009 2:01 PM, PST
| Alt Film Guide
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Jean-Paul Belmondo, Jean Seberg in Breathless
As per The Hollywood Reporter, the Berlin International Film Festival will mark its 60th anniversary with the retrospective "Play it Again …!," featuring 40 films compiled by British film critic David Thomson from previous Berlin festivals.
Among them are Curzio Malaparte’s The Forbidden Christ, Alf Sjoberg’s Miss Julie, Akira Kurosawa’s To Live, Jean-Luc Godard’s Breathless, Michael Cimino’s The Deer Hunter, Zhang Yimou’s Red Sorghum, Niels Arden Oplev’s We Shall Overcome, and Paul Thomas Anderson’s Magnolia.
Also, Nagisa Oshima’s In the Realm of the Senses, which caused a furor in 1976. German authorities — who probably had better things to do (weren’t the Baader Meinhof running [...]
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- Andre Soares
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10 Awesome Foreign Actresses in Movies You Must See!
25 September 2009 6:29 AM, PDT
| The Movie Fanatic
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They're young, beautiful and talented, but some of them maybe quite unfamiliar to some of you. In our latest List of 10, tMF compilled 10 Foreign (if you like, Non-American) actresses and the must-see movies that made them 'hot properties' locally. Some of them joined Hollywood already - but have you seen them at their Best?
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It's a pity many of the roles given to them in Hollywood are not what you can call 'prestige' roles. Most of them are given the usual run-of-the-mill characters. Why not take a good look at their previous works and find out why we think they're awesome!
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# 10 - Maria Valverde (Spain) - Maria Valverde was born in Madrid and says she always wanted to become an actress. She finally fulfilled her dream at the age of 16 with a leading role in Manuel Martín Cuenca movie, La flaqueza del bolchevique.
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- modelwatcher@gmail.com (Jed Medina)
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Blu-ray Review: Pierrot le fou (Criterion Collection)
23 September 2009 12:20 AM, PDT
| Rope of Silicon
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In 1966 Roger Ebert reviewed Jean-Luc Godard's Pierrot le fou and gave it a 3 1/2 star review, 41 years later he reviewed it again and gave it only 2 1/2 stars quoting his earlier review calling the film "Godard's most virtuoso display of his mastery of Hollywood genres," only to now say he sees "it more as the story of silly characters who have seen too many Hollywood movies." Strangely enough, I have to wonder if Pierrot le fou is really about characters at all. It stars Jean-Paul Belmondo and Anna Karina as Ferdinand and Marianne, but does their "road trip" really serve as anything more than a medium for Godard to lovingly fawn over his then-wife while at the same time speak ill of American culture and the Vietnam War?
I recently reviewed Criterion's release of Godard's 2 or 3 Things I Know About Her, a film made two years after Pierrot le fou and
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- Brad Brevet
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Paste Presents the Slowest Movies Of All Time, Pt. 1: The Tedious and Terrible
6 September 2009 8:20 AM, PDT
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Interesting filmmakers often stretch time in unusual ways.
Even in his first film, the uber-cool romantic caper Breathless (1960), Jean-Luc Godard told a story that skittered
along like a needle skipping over an LP, then suddenly stopped to spend 30
minutes watching a couple hanging around idly in an apartment, in real time.
This decision says something about what Godard considered important.
By contrast, in 2006 the French, robotic dance-music duo
released a film called Electroma that
was painfully, ridiculously slow—slower than a pack of sloths on Quaaludes
climbing uphill. It was the kind of slow that makes the viewer angry for having
lost time. Electroma is 74
minutes of our lives we'll never, ever get back.
Slow movies, then, come in two basic categories: Those that
lull the viewer into a blissful state of near-hypnosis, and those that lack
what we might call narrative drive—films, in other words, without a point.
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Throwback Thursday: ‘Breathless’ (1960)
13 August 2009 5:00 AM, PDT
| WeAreMovieGeeks.com
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I fear that asking the average person these days what the phrase “French New Wave” means to them, I would regrettably receive one of two responses… “What?” or, the slightly less distressing response of “Wasn’t that a punk music movement in the 80’s?” The answer to both responses is “No!”
Jean-Luc Godard didn’t just create an artistic and entertaining film with Breathless (A bout de souffle) but, he also helped create a whole new style of filmmaking. What’s even more fascinating is that this is his first feature film, a film in which he took significant experiemental risks, and yet it became such an influential work. This is primarily a cops and robber story. Godard pokes fun on occasion at the scenes of the police doing their invetigative work, but the scenes still drive the story forward.
The story follows a small-time criminal named Michel Poiccard (Jean-Paul Belmondo
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- Travis
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What I Watched, What You Watched: Installment #2
2 August 2009 4:26 AM, PDT
| Rope of Silicon
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Back again with another installment of "What I Watched, What You Watched," and due to my time in San Diego covering Comic Con and the fact one of the selections included this time around is the complete season from a television show this installment doesn't have as many titles, but the second page has a little extra something I hope you'll be interested in checking out.
As a reminder to those that either didn't read the first installment (read it here) in this new feature series or forgot, "What I Watched, What You Watched" is a chance for me to share with you the movies (and sometimes television shows) I have been watching that don't necessarily make it into the headlines every week. My goal is to do this on a weekly basis unless things get in the way (such as this time around).
I hope this will spark conversation
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- Brad Brevet
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DVD Review: 2 or 3 Things I Know About Her (Criterion Collection)
21 July 2009 1:37 AM, PDT
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Jean-Luc Godard's 2 or 3 Things I Know about Her is not necessarily a hard film to understand, but at the same time there is no way I could go through the entire thing and explain it all. The first time I screened Criterion's new release of the 1967 feature I was watching it with a friend and as we watched I began giving my impression of what I thought was going on and what Godard was trying to do with the film, which does have a narrative, but as film scholar Adrian Martin says in his commentary, this is more of a visual essay than your traditional feature film. Once the film ended I read the back of the cover only to see most of what I had described was right there in black and white. I gave myself a pat on the back, but also realized that while I was
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- Brad Brevet
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What I Watched, What You Watched: Installment #1
19 July 2009 3:06 AM, PDT
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When you run a movie website you will undoubtedly come across people and commenters that say one of two things:
"I can't believe you haven't seen that movie!
"You need to watch more movies!"
Depending on the site you run and the attitude you have I think these are two entirely legitimate comments. If you (in this case myself) intend to give an opinion on movies you should at least know a little something about what you are talking about, and not merely one single genre unless that is your site's target demographic. You can go back and look at reviews I wrote back in 2003 (when I started this site) and easily recognize how little I knew. I was overly congratulatory and simply inexperienced and tried making up for it with forced writing. I recognize it, but have only used my inexperience as a means to realize there is much,
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- Brad Brevet
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Jean-Jacques Beineix: The Hollywood Interview
14 July 2009 4:20 PM, PDT
| The Hollywood Interview
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French filmmaker Jean-Jacques Beineix.
Jean-jacques Beineix:
Divas and Lions and Moons, Oh My!
By Alex Simon
The Noveulle Vague, or “French New Wave” was launched by a group of film critics and cinefiles who began France’s legendary Cahiers du Cinéma magazine in the 1950s. With Jean-Luc Godard’s Breathless in 1959, the movement was launched, emphasizing behavior over aesthetics, content over form, and pastiche of other film genres (particularly those born in the U.S., with a healthy dollop of Italian neorealism) over the more traditional narratives of French films from years past. Francois Truffaut, Jacques Demy, Agnes Varda (see our interview with her below) Eric Rohmer, Claude Chabrol, and Jacques Rivette all fell under the spell of magazine co-founder and theorist Andre Bazin, laying the groundwork for a series of articles, monographs and critiques that formed the so-called “auteur theory,” (or more specifically “"La politique des auteurs" ("The policy of authors,
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- The Hollywood Interview.com
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[DVD Review] Une Femme Mariée
4 June 2009 7:38 AM, PDT
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Keep in mind, I went into Une Femme Mariée with very limited exposure to the actual films of Jean-Luc Godard despite having studied his techniques and style in various film school courses. Not even Breathless, which is infinitely quoted as the quintessential French New Wave classic, particularly interested me. Maybe Une Femme Mariée surprised me as much as it did because of my unfamiliarity with Godard’s oeuvre. Just to think, having studied someone in great detail had shaped my perspective beyond a reasonable doubt. Yet, Une Femme Mariée is a challenging film on its own, free from the cult of personality that is Godard and yet fully indulging in his stylistic fashion.
Une Femme Mariée lets us peek into the life of Charlotte and her relationship with her husband and her lover, respectively. Macha Méril, whose delicate features and lack of emotional expression quickly establish her as only mildly
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- Mark Zhuravsky
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Podcast #106 - Jean Luc Godard
28 May 2009 4:12 PM, PDT
| SoundOnSight
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listen now [1]
Download the show in a seperate window [2]
In the 1960s, French New Wave director Jean-Luc Godard helmed over 20 feature-length films (depending on whether or not you count films made by "collective"), with many of them now hailed as classics by elitist cineastes everywhere. Today on Sound on Sight, we attempt to dig into Godard's massive filmography by looking at three of the films that defined his work in the first half of that decade: 1960's fast-paced romantic thriller "Breathless," 1963's self-reflexive "Contempt." and 1965's dizzying "Pierrot le Fou," which starred his then-wife, Anna Karina.
[1] http://www.soundonsight.org/SoundReviews/Episode106.mp3
[2] http://www.soundonsight.org/SoundReviews/Episode106.mp3
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- Ricky
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This Week On DVD and Blu-ray: April 14, 2009
14 April 2009 1:50 AM, PDT
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DVD Links: DVD News | Release Dates | New Dvds | Reviews | RSS Feed
Wow, what a horrible week for DVD and Blu-ray releases. Sure, some people will be interested in picking up The Reader after it was nominated for Best Picture, beating out poor ol' Dark Knight. I had it at #10 on my Best of 2008 list and I would love to own a Blu-ray version for reasons I will soon tell you, but I think that is a film I will remain in the minority and I would never recommend anyone pick it up on a blind buy. So what does that leave you with? The Spirit? I know a few people will probably be interested in the Blu-ray edition of Pride and Prejudice and the other half might think about buying 8 Mile on Blu-ray, but all-in-all there is really nothing to suggest here.
So, while you can still read my mini-capsules
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- Brad Brevet
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TCM Unveils Their List of Top 15 Most Influential Films of All-Time
13 April 2009 12:08 PM, PDT
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Turner Classic Movies (TCM) has just released their official list of top 15 most influential classic films of all time, the latest element in the network's 15th anniversary celebration and the launching point for a new feature at TCM.com in which the network says it will post a fresh list of movie favorites each day (although it actually looks like it is only going to be a weekly feature). The feature will be called TCM Dailies and will usually highlight five films, with a constantly changing theme. The lists will run from serious to silly, such as TCM's favorite car-chase movies, best slap scenes and top sequels.
Perhaps the most unfortunate thing is that TCM will just be listing the films and not necessarily showing them. This would have been even bigger news had I been able to tell you the 15 films featured will be shown on TCM over
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- Brad Brevet
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French Toast For Jackie
11 April 2009 11:46 PM, PDT
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Jackie Raynal, an important but relatively unsung figure in the world of film, is get ting her due -- a tribute at the French Institute/Alliance Francaise (22 E. 60th St.).
In her native France, Raynal worked as an editor on several New Wave classics.
In New York, she directed films of her own while programming the Bleecker Street and Carnegie Hall repertory cinemas, both of which are sadly long gone.
The Bleecker Street, which went under in 1990 because of a greedy landlord (so what else is new?), played an important part in my cinema education.
It was there
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- By V.A. MUSETTO
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Saint Agnes of Montparnasse
2 March 2009 12:43 PM, PST
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Dear Agnes Varda. She is a great director and a beautiful, lovable and wise woman, through and through. It is not enough that she made some of the first films of the French New Wave. That she was the Muse for Jacques Demy. That she is a famed photographer and installation artist. That she directed the first appearances on film of Gerard Depardieu, Phillipe Noiret--and Harrison Ford! Or that after gaining distinction as a director of fiction, she showed herself equally gifted as a director of documentaries. And that she still lives, as she has since the 1950s, in the rooms opening off each side of a once-ruined Paris courtyard, each room a separate domain.
That is not enough, because her greatest triumph is her life itself. She comes walking toward us on the sand in the first shot of "The Beaches of Agnes," describing herself as "a little old lady,
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- Roger Ebert
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Noir City 7—Eddie Muller’s Introductory Remarks to The Harder They Fall
2 February 2009 1:16 PM, PST
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“Boxing,” Eddie Muller affirmed, “is noir.” In the early 1930s between the demise of Jack Dempsey as heavyweight champion of the world and the ascension of Joe Louis as heavyweight champion of the world, a couple of enterprising gangsters on the East Coast—Paul John (“Frankie”) Carbo and Frank (“Blinky”) Palermo (“I’m not making these names up,” Muller assured us)—attempted to take control of all the boxing rings by basically determining who would and would not fight for the championship fights that were being held in the greater New York area. Their great contribution to boxing was the creation of heavyweight champion Primo Carnera, a circus strongman that Carbo and Palermo had their hooks into who they basically led by a leash to the heavyweight championship of the world. Mark Robson’s The Harder They Fall is the fictionalized account of the Primo Carnera scandal.
In keeping with
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- Michael Guillen
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