For many, the term Nouvelle Vague is virtually synonymous with its twin axes, its most famous practitioners, François Truffaut and Jean-Luc Godard. But if Truffaut and Godard were destined to become the famous names of the lot, Claude Chabrol was there first.
It was his 1958 film Le Beau Serge that launched the movement, and it was he who financed much of the early New Wave productions. But it was not quite as perfect an inauguration to Chabrol’s own career, for reasons that were not immediately clear.
What was immediately clear was that the earth had moved. Le Beau Serge took home a prize at the 1958 Locarno film festival, but it was the picture’s popular and commercial success that truly spelled the start of something big.
A few years ago I made a poorly-thought-out attempt to pay tribute to Chabrol here in this blog, by (what was I thinking?) focusing on his worst film. OK, so that didn’t work. But I’m coming back to Chabrol, this week and for the next few as well, to try to give the man his due. Tomorrow night, TCM is screening Chabrol’s first two features—and while both are terrific, they’re as different as chalk and cheese.
As far as I’m concerned, Claude Chabrol launched the French New Wave with Le Beau Serge—and then he went and ran off in a different direction away from the very movement he helped found. For aficionados of the New Wave, here is a seminal work—for aficionados of Chabrol’s own unique brand of cinema, here is a frustratingly unfamiliar work.
Posted by David Kalat on October 26, 2013
I was gonna call this week’s post “2 Girls, 1 Swimming Pool” but decided against it. But inspired by TCM’s upcoming screening of one of my all-time favorite thrillers, Henri Georges Clouzot’s Diabolique (AKA Les Diaboliques), I’m taking the opportunity to celebrate the twisted artistry of this gloriously macabre picture–and taking stock of one of its many knock-offs.
Clouzot’s is a dark and cynical cinema, devoid of hope and happy endings. Which is unsurprising, since that is an equally apt description of Clouzot himself. “All his work has been surrounded by an air of scandal and affront,” writes Roy Armes, “and the shooting of all his films is conducted in an atmosphere of bitterness and recrimination. His own urge to dominate is perhaps reflected in his urge to dominate is perhaps reflected in his characters who seek outlets for their lust, hatred, and violence.”
Posted by Kimberly Lindbergs on July 11, 2013
Posted by Kimberly Lindbergs on July 4, 2013
Throughout the month of July TCM is spotlighting the films of François Truffaut. Every Friday night viewers can tune in at 5PM PST or 8PM EST and expect to see a well-rounded selection of the French director’s films hosted by film critic David Edelstein.
I never met François Truffaut but I’ve long felt a sort of kinship with the man and his movies. 25 years ago I wept through my first screening of THE 400 BLOWS (aka Les quatre cents coups) and a few years later I was introduced to Truffaut’s film criticism when I stumbled across a beat-up & battered copy of The Films in My Life at a used bookshop. I eventually learned more about the director who helped usher in a New Wave of French cinema and today Truffaut and his films feel like old familiar friends that I’ve grown-up with and appreciate more with each passing year. But writing about them can be difficult because many of Truffaut’s films are tied to difficult and often painful experiences in my own life.
Posted by Kimberly Lindbergs on May 16, 2013
I’m fond of mysteries that evolve through conversation and unravel in small spaces such as Alfred Hitchcock’s ROPE (1948) and Robert Hosseins DOUBLE AGENTS (1959). The claustrophobia they evoke seems directly linked to our primal fears and primitive suspicions. One of the most interesting films in this vein is Giuseppe Tornatore’s A PURE FORMALITY aka Una Pura Formalita (1994). I recently revisited this opaque thriller after almost 20 years and was surprised by how effective it still was. Even though I was well aware of the surprise twist ending I was mesmerized from start to finish thanks to Tornatore’s deft directing choices, Pascal Quignard’s brilliant dialogue and the masterful performances etched out by two powerhouses of European cinema; Gérard Depardieu and Roman Polanski.
Posted by David Kalat on December 1, 2012
Having brought up Dr. Mabuse recently, naturally my thoughts also flit to Fantômas. I had promised a while back that I would eventually address Andre Hunebelle’s 1960s Fantômas revival in this blog, and now seems the best time to live up to my word. Along with last week’s visit to Dr. Mabusiana, I’m going to spend the next several weeks exploring the world of pulp mysteries on film—specifically how different filmmakers have approached the task of rendering in cinematic terms a corpus of literature that flourished in the late 1800s and early 1900s.
The Hunebelle Fantômas films are not readily available for viewing. It is the case that anyone with an Amazon account can obtain a DVD box set of the entire trilogy—but this import set will come without English subtitles and will only be playable in a region-free player, so it’ll alienate most casual American viewers. With that in mind, I’m going to be fairly heavy on clips this week, so give you a good sense of what these three films are really like. I’ve added subtitles to these clips from an online source of fan-created subtitles. Given the awkward wording, I’m guessing by “fan-subbed” they really mean “ran the French script through Google Translate and performed no proof-reading at all.”
Posted by Pablo Kjolseth on August 26, 2012
In my last post I provided a look behind the curtain for the first five weeks of film programming for my fall film calendar. This week we look at the remaining 24 titles that round out the schedule. It features everything from classics such as Vertigo to the state premiere of the latest uncompromising and visually arresting film by Bruno Dumont, Outside Satan (a scene of which is pictured above). [...MORE]
Posted by Pablo Kjolseth on August 12, 2012
The art house film calendar that I program goes to press in two days and, although I’m still waiting for some confirmations, I’m sharing the rough-draft with TCM readers, along with some brief thoughts regarding the choices made.
Posted by David Kalat on July 21, 2012
When I first encountered Alain Resnais’ famously impenetrable Last Year at Marienbad, roughly fifteen years ago, I watched it out of a sense of obligation. I knew it to be an acknowledged “classic” by an important filmmaker from a pivotal moment in film culture. I sort of had to watch it to maintain my cred. But I went in prejudiced by its reputation as a prickly, off-putting exercise in beautiful but alienating imagery, unconcerned with entertainment or emotion. Boy was I surprised when I found it to be completely engrossing.
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