Word: godards
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...while Godard and his aging enfant terrible cohorts continued their explorations of the bleak and the beleagured, Truffaut continued to see the world placidly, some would say naively, not as an elaborate inhuman maze, but as a series of small victories and small defeats. At this year's New York Film Festival, Godard gave the world his Every Man for Himself, and not very many wanted it. Truffaut gave them The Last Metro, complete with Cartherine Deneuve and Gerald Depardieu, and everyone sighed. In France The Last Metro has been lavishly garnished with awards and is a huge financial success...
...Close Encounters, it was, fittingly enough, that of the starry-eyed scientist who looked to the sky with an unbridled, childlike innocence. These hyper-intelligent jellyfish aliens glided out of the Mother Ship, and there was the benevolent Truffaut, signalling good will and smiling his beatific smile. Jean Luc Godard sneered and said the man wasn't even a director. Truffaut, the gallant one, smiled demurely and said how much he liked Mr. Godard...
...corralled estimable talents from all over the world. Jean-Luc Godard (Breathless, Weekend) came from France, Michael Powell (The Red Shoes, Peeping Tom) from England, experimental Film Maker Scott Bartlett from San Francisco and Hoofer Gene Kelly from the heart of Hollywood. He put three films into production on the Zoetrope lot: Hammett, a surreal murder mystery directed by the German Wim Wenders; The Escape Artist, starring Ryan O'Neal's 16-year-old son Griffin; and One from the Heart. By January, Zoetrope had some 500 employees and a $600,000-a-week payroll. Inevitably, Coppola...
...beings. To illustrate his thesis with scenes from the lives of three ordinary people, we have engaged the services of Jean Gruault, who has written some of the finest and most provocative French films of the past 20 years: Truffaut's Jules and Jim and The Wild Child; Godard's Les Carabiniers; and Rossellini's The Rise of Louis XIV. The slide show has been assembled by Alain Resnais, director of such films as Hiroshima Mon Amour, Last Year at Marienbad and La Guerre Est Finie. Today's class will be a bit longer than usual...
...Godard offers instant video-replay, without the live original. He reminds us that it's only a movie but completely enthralls us in doing so, generating a symphony out of routine actions one would otherwise barely notice. In his hands, an obvious technical device produces the most memorable moments in the film (which was originally titled Slow Motion...