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Posts Tagged ‘French New Wave’

Love On the Run

Wednesday, June 1st, 2016

tn_loveontherunLOVE ON THE RUN is a part 5 where everything comes together: Antoine’s early estrangement from his parents, the patterns of his failed relationships, the risks of putting his personal life (and therefore the people he knows’ personal lives) in his so-called fiction. In the opening we see him with a new girlfriend, Sabine (children’s singer and cartoon show host Dorothée), who he seems to be screwing it up with already. He obviously hurts her by cancelling their plans, without explaining why, but it’s to finalize his divorce with Christine (parts 3-4). So we get to see her again, and then OH SHIT, part 2 co-star Collette (Marie-France Pisier, also one of the screenwriters) happens to see him, finds out about his book, and reads it. And later he sees her and wants to talk to her again.

I’m not saying it’s FAST FIVE good, but it has a similar quality of uniting characters and threads from across the series and putting them into a story that’s in some ways more exciting and satisfying than previous entries. It also made me think of the fourth PHANTASM because of its liberal use of footage from when the actors were younger, though in PHANTASM it’s unused footage and here it’s almost like a clip show episode of a TV show. They keep bringing up things that happened in the past and then there’ll be a short clip from the movie where it happened. (Since this was pre-home video it was reasonable to expect that even if viewers had seen all the other ones it had been only once a long time ago.)

It’s also a little like ONCE UPON A TIME IN MEXICO because in the midst of these flashbacks there are also flashbacks to things that happened between the last movie and this one, as if it’s clips from another sequel we never saw where they moved in with Christine’s lesbian friend. And of course bringing Collette and Christine together for a scene at the end is kinda like when Michael Dudikoff and David Bradley met up in AMERICAN NINJA 4. (read the rest of this shit…)

Bed & Board

Monday, May 30th, 2016

tn_bedandboardBED & BOARD is Antoine Doinel Part 4: The Married Years. I don’t know how the fuck he did it, but that weasel Antoine got hitched to Christine and they appear to live happily in an apartment in Paris together. He works at a flower stand right outside the building and can hear her giving violin lessons to children upstairs.

While THE 400 BLOWS was groundbreaking for being kinda naturalistic, this one reminds me of modern quirky French movies with their cute little gimmicks and ensemble of different funny characters who poke their head out of windows to get involved in conversations and stuff. Early on there’s a trick where Antoine is soaking the stems of white flowers in red dye, the camera pans up to a guy talking to him and when it comes back the flowers are now bright red. It’s like a simple magic trick. I like it. (read the rest of this shit…)

Stolen Kisses

Tuesday, May 24th, 2016

tn_stolenkissesSTOLEN KISSES – or as I would have retitled it, 400 BLOWS III: THE SHADOW AGENDA – is the story of Antoine Doinel, an ex-military private eye hitting the streets for a case that will change everything. Or whatever.

This is the one that brings Antoine into the worlds of adulthood and color photography. It’s also the most Cannon-like so far because it opens with him as a soldier in an army jail, much like Joe Armstrong found himself in AMERICAN NINJA, except he’s reading The Lily In the Valley to show off that he loves books and instead of getting out when ninjas come to attack him the guards just let him out and he’s told he’s being kicked out of the army.

In real life Truffaut, after being rejected by the girl who Colette was based on in ANTOINE AND COLETTE, attempted suicide, then joined the army, deserted, went to military prison, etc. So this is autobiographical again.

Antoine can’t hold in all his impish smiles as the commanding officer reads the list of every place he went AWOL and lectures him for willingly enlisting but then not even trying to do a good job. This is not a “punched out the commander for giving him a command he couldn’t follow” type of situation. No, he just sucks at his job. (read the rest of this shit…)

Antoine and Colette

Wednesday, May 18th, 2016

tn_antoineANTOINE AND COLETTE, a.k.a. THE 401ST BLOW (not really), is only about half an hour long, ’cause it was originally the first segment of an anthology called WHEN YOU’RE 20 AND IN LOVE, with other ones directed by Shintaro Ishihara, Marcel Ophuls, Renzo Rossellini and Andrzej Wajda. I couldn’t find the whole thing, but they have DVDs that include just Truffaut’s segment along with THE 400 BLOWS or the earlier short LES MISTONS. It is the continued blowing adventures of Antoine (still Jean-Pierre Leaud). Patrick Auffay also returns as his best friend Rene, who now is in love with his cousin because she has short hair like Joan of Arc. I’m not sure if that was a French thing or a Truffaut thing. I’m gonna try not to judge. Anyway the two of them have a flashback to when they almost got caught smoking Rene’s dad’s cigars.

Isn’t that weird? What if Tarantino’s segment of FOUR ROOMS was about, like, Jules Winfield and the bartender Paul, and had a flashback to their scene in PULP FICTION? We might be living in a different world then. (read the rest of this shit…)

The 400 Blows

Monday, May 16th, 2016

tn_400blowsTHE 400 BLOWS is the story of Antoine Doinel (Jean-Pierre Leaud), 12-year-old terror of Paris. Francois Truffaut, having been a writer and editor at Cahiers du Cinema and notorious for harshly lashing out at a perceived mediocrity in French film of the time, made his feature directing debut turning childhood memories into cinema. So… the critic has become the critiqued! Actually, that worked pretty well for him. THE 400 BLOWS launched a legendary directing career, won him best director at Cannes, and has been cited as a favorite movie by no less than Akira Kurosawa. People seemed to like it.

Antoine is a kid who gets into some trouble. In fact, the title is from a French idiom that basically means “to raise hell.” So this could be called RAISING HELL. The second Doinel film, ANTOINE ET COLETTE, translates to TOUGHER THAN LEATHER in my opinion. Anyway, Antoine may 400 blow and raise hell and bring da ruckus, but he’s not a Bad Seed or a Problem Child. We can see that he’s not any worse than the other kids most of the time. His buddy Rene (Patrick Auffay) does all the same things Antoine does, for example they steal and smoke Rene’s dad’s cigars together. But Antoine seems to usually be the one that gets caught or blamed. When all the kids are passing around a pin-up in class, of course it has to be Antoine that’s holding it when the teacher (Guy Decomble, BOB LE FLAMBEUR) turns around.

The teacher obviously doesn’t like him. He thinks he’s bad, so he treats him as bad. How’s Antoine ever supposed to do better when he’s walking around with a target on his head? Of course he fulfills the prophecy. (read the rest of this shit…)

Le Samourai

Sunday, February 6th, 2011

tn_samouraiLE SAMOURAI is a movie I’ve meant to see for years. It just comes up so often when you’re into the shit I’m into. It was a big inspiration for THE KILLER and GHOST DOG, and probly THE AMERICAN, and since it’s both a crime movie and an instigator of that French wave that was new at the time it appeals to a broad range of movie buffs. People who wouldn’t normally watch too many French movies from the ’60s might watch it because it’s about a hitman, and vice versa. (‘Vice versa’ is Latin by the way, not French.)

So after hearing about it all these years it’s kind of a surprise still, ’cause it turns out I got the wrong impression. The way people talk about it I thought it was gonna be way more arty, way more slow and difficult, way more pretentious. But it’s a pretty straightforward crime movie in my opinion. It’s not fast-paced by modern standards, but it doesn’t have much fat on it either. Just alot of quiet. And a bird chirping.
(read the rest of this shit…)