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A couple of nice French films
- Thread starter BJ
- Start date
Chris Coad
Chris Coad
Must be synchronicity, I'm watching Astrix aux Jeux Olympiques tonight while sipping a smooth, dry '06 Gris du Toul from Auguste Choufleur (sp?). Masterful, deeply human cinema.
Jeff Grossman
Jeff Grossman
Huh. I'm humming Popeye The Sailor-Man and am nearly overwhelmed with its rustic truths and moral certainty.
Chris Coad
Chris Coad
originally posted by Jeff Grossman:
Huh. I'm humming Popeye The Sailor-Man and am nearly overwhelmed with its rustic truths and moral certainty.
"I yam what I yam" beats "Cogitavi, ergo fui" in my book of profundity any day of the week and twice on Sundays.
U
Unknown
Guest
I'm going to see Six in Paris on the big screen at the Detroit Film Theatre in March. I have nothing clever to say about it.
Have you seen Paris, je t'aime? French cinema is present too.
Have you seen Paris, je t'aime? French cinema is present too.
Levi Dalton
Levi Dalton
Attendance at Made in the USA was quite high when I saw it last weekend. And not one person walked out mid-picture.
I really don't know what is going on.
I really don't know what is going on.
Sharon Bowman
Sharon Bowman
"Six in Paris" is great stuff. The Chabrol one is particularly cruel & good.
Also, a young Philippe Sollers makes a cameo in the Rohmer short.
Oh, and I love the intertextuality of the Godard short being the story Belmondo tells Anna Karina about in "Une femme est une femme." Godard rocks, as ever.
Also, a young Philippe Sollers makes a cameo in the Rohmer short.
Oh, and I love the intertextuality of the Godard short being the story Belmondo tells Anna Karina about in "Une femme est une femme." Godard rocks, as ever.
originally posted by Sharon Bowman:
Frank Deis
Frank Deis
did the score for a wonderful French film known in America as "Elevator to the Gallows." In England it is something like "Lift to the Scaffold" or "Bonnet" or "Boot" or something. The original "Ascenseur pour l'chafaud." Louis Malle. Black and white, 1958, Paris, cool cars, very Hitchcock-style plot, crime drama.
What Miles Davis knew how to do that many film scorers do not know how to do was to SHUT UP. Several minutes pass with no cues, and then you get some gorgeous early Miles notes to bring out the emotional content of what is happening in the plot. In many ways this is a near perfect movie. Oh, and it stars Jeanne Moreau who appeared about the same age in every film I've seen her in.
My son had a local gig with one of his groups this weekend and his band assembled from around the country, and everyone stayed in our house. These are fun kids, 20 somethings, and one of them does film scoring. Lots of kids at Berklee take courses in film scoring, I think few of them get the chance to actually do it. Eli is scoring a movie about down and out people in San Francisco, and what struck me was that he was rather sparse with the music -- I told him he was being like Miles Davis and he was pleased but had not known about the Elevator flick. Of course I can also be pleased by a film with constant music in the score but when it's right to be minimal you have to have that available as an option.
I could go on at length about this but I won't. Just one more thing. American films in the 1940's seemed to suffer from the impression that they had to have a "theme song" so you would hear some chosen song, say "Turkey in the Straw" and the composer would write endless variations on "Turkey in the Straw" so that you could hear it during love scenes, car chases, fight scenes, when people are sleeping, riots, kids standing in line for Santa Claus, etc etc etc etc etc. Constantly! The phenomenon didn't seem to affect European movies in that same period.
F
What Miles Davis knew how to do that many film scorers do not know how to do was to SHUT UP. Several minutes pass with no cues, and then you get some gorgeous early Miles notes to bring out the emotional content of what is happening in the plot. In many ways this is a near perfect movie. Oh, and it stars Jeanne Moreau who appeared about the same age in every film I've seen her in.
My son had a local gig with one of his groups this weekend and his band assembled from around the country, and everyone stayed in our house. These are fun kids, 20 somethings, and one of them does film scoring. Lots of kids at Berklee take courses in film scoring, I think few of them get the chance to actually do it. Eli is scoring a movie about down and out people in San Francisco, and what struck me was that he was rather sparse with the music -- I told him he was being like Miles Davis and he was pleased but had not known about the Elevator flick. Of course I can also be pleased by a film with constant music in the score but when it's right to be minimal you have to have that available as an option.
I could go on at length about this but I won't. Just one more thing. American films in the 1940's seemed to suffer from the impression that they had to have a "theme song" so you would hear some chosen song, say "Turkey in the Straw" and the composer would write endless variations on "Turkey in the Straw" so that you could hear it during love scenes, car chases, fight scenes, when people are sleeping, riots, kids standing in line for Santa Claus, etc etc etc etc etc. Constantly! The phenomenon didn't seem to affect European movies in that same period.
F
Frank Deis
Frank Deis
I should have realized that you would know and love this film, Brad. I have known of it for some time because of the Miles Davis connection and finally bought the DVD. Jeanne Moreau was only 30 in 1958 and I thought it would be interesting to see her looking "young." But she was 30 going on 48...
For me this is the perfect period for Miles Davis. You get into the later stuff, it's too much oak for me.
F
For me this is the perfect period for Miles Davis. You get into the later stuff, it's too much oak for me.
F