Word: godards
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Dates: during 1970-1979
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...hardly denying his right to make social statements. But like Godard, he forgets or ignores the fact that in art as implicit social criticism is far more effective than explicit didacticism. Thin of Rules of the Game. Unlike Tanner, Jean Renoir understand that the best way to show how society maltreats people was through the struggles of his characters to define themselves while playing their game. In the Renoir film we are dealing with people who are truly caught between expediency and integrity...
...critic that shows through most plainly. Tanner has watched Truffaut, Godard, and Rohmer closely, and he has learned his lessons well. His story, realistic enough in substance, has that fringe of the unlikely which made the best of the New Wave so eminently palatable. Pierre (Jean-Luc Bideau), a struggling young writer, is commissioned to produce a television script to be based on a recent incident in the news: a young girl called Rosemonde was accused by her uncle of attempted murder with his old army rifle. The girl, for her part, claimed the gun went off while the uncle...
...FRENCH NEW WAVE lost its steam in the mid-sixties, when the experiments of the early part of the decade began to turn into repetition on the one hand and polemic on the other. Chabrol churned out Chabrols and Truffaut, Truffauts. Daniel Cohn-Bendit gave Godard politics. No one gave Resnais money. This same vacuum which so facilitated the ascension of Eric Rohmer seems likely to do similarly for Alain Tanner. But like Rohmer. Tanner at his moment of success is no fresh young talent. He is a middle-aged Swiss with a varied career behind him that includes apprenticeship...
...this, The Godson's elegiac mood and spacious sense of style reveal undeniably adept direction. Except for his Doulous - The Finger Man, an atmospheric thriller that appeared in 1964, Jean-Pierre Melville's work has been little seen in this country. He himself popped up in Godard's Breathless, where he played a celebrated film maker giving an interview to Jean Seberg. In France, in deed, he is celebrated for melancholy Gallic exercises in gangsterism, American style...
...library shelf, have been sparked into conflict. What has most heightened the level of debate in that arena is the appearance of the Philip Rahv-edited Modern Occasions. Formed when Rahv split with much of the rest of the staff of Partisan Review (who had begun to take to Godard, Warhol, and analysis of literature from a pop viewpoint) it is "radical in orientation"--it looks to root issues--yet pledges allegiance neither to the New Left nor the Old. It does not advance the idea that a successful political revolution can take place without an enunciation of means...