Word: godard
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EVERY MAN FOR HIMSELF Directed by Jean-Luc Godard Screenplay by Anne-Marie Mieville and Jean-Claude Carri...
...decades, Jean-Luc Godard has been cinema's master of collage. His films assemble scraps of dust-jacket wisdom, revolutionary rhetoric, sexual aggression, the music and the language of the streets, images from books, TV, magazines and billboards, forming a mosaic that melds the graphic wit of a Braque guitar with the anarchic intensity of a kidnaper's ransom note. In Every Man for Himself, the first Godard film to be distributed in the U.S. since 1972, he has tried to make an accessible movie while still speaking in his steely, ironic voice. But Godard will...
...inevitable. This director's latent pessimism matches perfectly the gloomy social landscape of chaotic contemporary Italy. Or so one might hope. In Rehearsal, Fellini is so enthralled by his polemic that he forgets to let his imagination take flight. A film that should have been his equivalent to Godard's Weekend or Wertmuller's Love and Anarchy is instead a pedantic, if playfully illustrated, ideological chalktalk...
...five years is due in December (a war movie called The Big Red One) has a keyed-up, pulp-writer's sense of poetry, an incredibly imaginative and powerful manipulation of cutting rhythms and camera movement--and a wide streak of sadism. His films have been highly influential to Godard, among others, whose praise and tribute has lifted Fuller to a sort of cult status. Shock Corridor--starring no one you've ever heard of before--concerns a journalist who, in hopes of earning a Pulitzer prize, disguises himself as a patient in an insane asylum to discover the identity...
...Nazis in 1939, Renoir settled in Hollywood, and though his output slowed, his later films included such acclaimed works as The Southerner (1945), and The River (1950), filmed in India. A singularly congenial, humane man whose work greatly influenced the New Wave directors of the 1950s (including Truffaut and Godard) and onetime Apprentices Luchino Visconti and Satyajit Ray, Renoir considered himself primarily a storyteller, always filming his special kind of tale. "I am interested in what happens to people," he once explained, "when they must adapt to a new world...