Word: filming
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Dates: during 1960-1969
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Hardly a promising start for a marriage-or a comedy. But French Director Claude Berri has a singular talent for reconciling opposites. His last film, The Two of Us (TIME, March 8, 1968), was built on the somehow delightful confrontation between an anti-Semitic old man and a Jewish nine-year-old. In Marry Me, Marry Me, Berri finds legitimate laughter in the plight of a pregnant bride-to-be, her philandering fiance, and parvenu in-laws who behave like outlaws...
Though he conceived, wrote, directed and stars in Marry Me, Marry Me, Berri knows better than to make his film a one-man show. The best performances, in fact, are given not by the youths but by their satiated elders who long ago seized life by the throat-only to find that they had killed it. The best of a talented troupe is Isabelle's much older sister, Marthe (Regine), a doughy redhead who believes that sex appeal, like flour, is measured by the pound. As Isabelle's hag-ridden father, Gregoire Asian can convey more with...
...trials of courtship have always been natural subjects for film makers. Berri watches them without mockery or disdain. The result is a rare observation of the pathos and humor engendered by the rites...
...speech is a fairly good indication of the general level of wit to be found in Putney Swope, a frenzied, almost desperate comedy by a barely emerged underground film maker named Robert Downey. Downey-who bills himself in the credits as "a prince"-has got it into his royal head that what America really needs at this point in its history is another put-down of the advertising business. Accordingly, he has come up with the not totally unpromising notion of a group of black militants taking over an ad agency and bombarding the country with race propaganda concealed inside...
...complete the Expressionist myth as practiced in German movies, subverts his normal conduct until he becomes an object of the townpeople's scorn. The economic theme in this plot, closely related to the real and feared decline of the German middle classes in the 20's, satisfyingly gives American film critics one of the few social facts in their consciousness. No wonder they include they include Josef von Sternberg's first sound film with the works of Lang, Murnau, and others...