Word: godard
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Chris Parker's experimental winnerCut (U. of Iowa; its choice accentuated the uselessness of the dramatic-documentary-animation-experimental categories) aped Godard's Masculin-Feminine in discussing the making of movies, some very elementary metaphysics, and the old illusion-vs.-reality bit. I didn't like it, but that's between me and my generally perverse taste; at least it was the film Parker wanted to make, plainly personal and chock full of substance. One can't quarrel with a well-executed idea, one can only like or dislike it. Peter Simmons' My House (San Francisco State) is another...
...role of the director in the Bazin-Godard-Truffaut mode of movie analysis is filled in a comparably all-important manner by the singer. This role, to oversimplify by way of introduction, is to personalize unmistakably the final product. More than creating a recognizable style (for in the main, the human voice is inherently distinctive), the rock auteur utilizes his style to transcend his material. The content of the artist's songs is subjugated, and in fact it sometimes becomes difficult to differentiate within the auteur's oeuvre...
...turned out 47 Charlie Chan features and serials. There were also such spin-offs as a comic strip, a radio show and a short-lived TV series. Last week Manhattan's Museum of Modern Art, which is more accustomed to honoring film giants such as Jean-Luc Godard, Eisenstein and Billy Wilder, opened a Charlie Chan festival that will exhume 23 of his movies, most of which are familiar to late-show devotees...
Hisses & Asides. That has been true since the beginning of his film career. It was unheard of, for instance, to cut from the back of an actress' head to the back of the same head. Godard did it 18 times in Breathless. While making A Woman Is a Woman, he recalled a Chaplin dictum that comedy is life in long shot and tragedy life in closeup. So A Woman became a comedy in closeup. Cameras are supposed to record, not call attention to themselves. In My Life to Live, he had his camera swinging back and forth like...
...Godard's rare best, that nonchalant imperviousness to precedent can provide the viewer with a shock of delight. There are sequences in his films that no other director would have dared to try, or could have brought off half so well: Alphaville's portrayal of the future as nightmare, achieved through location-shooting in present-day Paris; the bittersweet evocations of prewar Hollywood musicals in A Woman Is a Woman; the female mood of sensual boredom in The Married Woman...