Word: godard
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Over the past ten years, Raoul Coutard has achieved a reputation as one of the world's great cinematographers. In that time he has worked for almost all of the noted French "New Wave" film makers (Truffaut, Godard, Rohmer, among others). This is his first directorial effort, and it would seem that his technical background would incline him toward a stylistic self-consciousness. But Coutard is too sure of himself to feel a need to demonstrate his proficiencies. His direction is efficient rather than ostentatious. His concern is with narrative, and the narrative is rigourously simple...
...Federico Fellini La Viaccia Mauro Bolognini Sept. 29-Oct. 5 Elvira Madigan Bo Widerberg Morgan Karel Reisz Oct. 6-12 Persona Ingmar Bergman Devil By The Tail Phillippe de Broca Oct. 13-19 The Seven Samurai Akira Kurosawa Oct. 20-26 Boy Nagisa Oshima Weekend Jean Luc Godard CENTRAL SQ. Oct 13-16 The Big Store Marx Brothers A Day at the Circus Oct. 17-19 Ninotchka Greta Garbo Anna Karenina Oct. 20-23 Lolita Peter Sellers The Night of the Iguana Richard Burton Oct. 24-26 Captains Courageous Spencer Tracy Mutiny on the Bounty Clark Gable...
...Binh is the first feature film to be directed by the superb French cinematographer Raoul Coutard, 47, who has photographed much of the work of Godard and Truffaut. Made entirely in Viet Nam during 1969, the movie is full of scenes of severe beauty: gas-masked soldiers outlined against a metallic sky, actors in elaborate Oriental costume running from a bombed theater, whole rows of huts bursting suddenly into flame...
Skolimowski fills his backgrounds with imagery (a painter covering a wall in red, a man in the swimming pool rolling over and over in a kayak) that is both disorienting and quite funny. Mike is clearly descended from the manic protagonists embodied by Jean-Pierre Leaud in Godard's films and in Skolimowski's Le Départ. They all suffer their youth as if it were a wound...
...REVOLUTION isn't coming soon," says Dr. Arthur Bauer, Marxist-intellectual-in-exile of Susan Sontag's Duet for Cannibals . If this is so, the role of the alienated cultural vanguard-both necessary and sufficient-must lie in assaulting the ruling culture, in destroying the primacy of bourgeois humanism. Godard has undertaken this task politically by creating dialectical confrontations with the mystified, "larger than life" Hollywood image. He launches a direct, ideological attack, using the cinema as a two-dimensional "blackboard" to counter the "in-depth," "universal" presentation of classless "Man" in bourgeois films. The technological advent of sophisticated, depth...