Word: cin
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...time, Truffaut was the sternest critic on Cahíers du Cinéma, the trumpet and bible of the New Wave, and he introduced Moreau to the company of serious filmmakers and intellectuals that has been her real world ever since. "I found myself among people I understood better," she recalls, "people I wanted to know, people I admired. The cinema began to mean something to me beyond simply being an actress." Moreau went back to work with a passion, and in two years she made four films, among them three of her best: Les Liaísons Dangereuses...
Scopitone, which has been the rage of France for the past four years, was invented by a firm that sounds as if it had been founded by Jules Verne; Compagnie d'Applications Mecaniques à 1'Electronique au Cinéma et à 1'Atomistique (CAMECA). Since then it has spread from Marseilles to Macao; Nikita Khrushchev even has one, loaded with Marxian uplift featurettes. Actually, Scopitone's "musies" are descended from U.S. Soundies, which during World War II filled bus terminals and B-girl grottoes with grainy, black-and-white productions of The Flat Foot Floogee...
Bergman hit Paris like a wild north wind. In 1957, when a cycle of his films was first shown at La Cinémathèque Française, the main film library in Paris, hundreds of cinémanes stood in line night after night for three nights to get seats. "We were absolutely overthrown," says Director Truffaut. "Here was a man who had done all we dreamed of doing. He had written films as a novelist writes books. Instead of a pen he had used a camera. He was an author of cinema...
...Belongs to Us. "Of all the New Wave films, this is the most original and the richest." Such is the opinion of many French reviewers. Perhaps they are talking about some other movie. This one is the first full-length effort of a 34-year-old critic (Cahiers du Cinéma) named Jacques Rivette, and the best that can conscientiously be said for Director Rivette at this point is that he promises handsomely to do better next time...
Soon he was writing reviews for the Paris monthly, Cahiers du Cinéma, the Parisian equivalent of Schwab's Drugstore in Hollywood, a place where young hopefuls loiter. In the late '50s, every young French director who had directed nothing wrote for Cahiers. One by one, they emerged - Claude Chabrol with The Cousins, François Truffaut with The 400 Blows. Only Jean-Luc Godard seemed to stay behind, and one day he disappeared with the Cahiers' petty cash. Chabrol and Truffaut wondered if Godard was trying to finance a film. They came...