Word: coutard
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...other reason than it simply feels more palatable to today’s mainstream film audience. The soundtrack, scored by Georges Delerue, builds and sweeps with an epic romanticism that self-consciously apes the conventions of contemporary dramatic film. The cinematography, overseen by perennial Godard collaborator Raoul Coutard, had rarely looked more breathtaking—not only is the camera finally still (his earlier films were often shot on hand-held cameras), but the angles are expertly measured to give a messy apartment and a Mediterranean horizon the same sense of space. Vistas overflow with color. “Contempt?...
Truffaut makes clear that the war brought to an end the world that Jules, Jim and Catherine knew. All at once, the radiance and airiness of the film's first half make sense. Cinematographer Raoul Coutard's camera captures inhumanly beautiful scenes. The screen is so luminous that at times one is almost blinded by it. Coutard has a feel for the way that summer shirts and the use of a hand-held camera accentuates the kinetic quality of bohemian life. Suddenly, the sunlit beauty of the movie's first section seems elegiac; the world the film portrays...
...then neither are the other motivations in The Jerusalem File interference from Pleasence and Williamson and several ominous appearances by the black sedan. The students drive across the dunes to meet their fate, and the movie ends as it began: badly. Raoul Coutard's photography, however, is very easy on the eyes, as is Daria Halprin, modeling the latest in kibbutz sportswear...
...Confession was shuttled out of Boston without surplus discussion or playing-time: it entered the Harvey chain, but played the Orson Welles in a print dubbed with bad American gangsterese. Photographed by Raoul Coutard, written by Jorge Semprun, directed by Costa-Gavras (there's talent in those credits), this chronicle of the Czech Slansky trials resonates with modern fears of industrial slates, of resulting dehumanization, and the ascendance of politics over morals. But it's no sermon: the bulk of the film is anti-melodramatic, a complex historical document, and terror comes through to both mind and gut because...
...middle of Vietnam horrors. It's a slight piece of social history. But it is accurate, emotionally powerful, and if it didn't preach pacifism in a Have-Have Not war, it would come very close to non-partisanship. The film's power is in the eye of Raoul Coutard, who here debuts as writer-director. American soldiers freeze in grotesque command postures. A theater explodes and its audience flees, losing intestines en route. Slum kids piss on a child-exploiting businesswoman's car. The connecting tissue doesn't equal the fragments, but these fragments are hard-edged stuff...