Word: je
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...Je T'Aime, Je T'Aime is a frosty movie about love, life and time travel directed by Alain Resnais. In Hiroshima Mon Amour and Last Year at Marienbad, Resnais evolved an elliptical style of editing that included streams of consciousness, unconsciousness and dreams, all edited so tightly that the audience had to shift rapidly between tenses and dimensions. This technique made his films intellectual teasers, but it also tended to weaken the rather fragile narrative line. The scenario of Je T'Aime has been almost completely overwhelmed. It was supposed to be a kind of comic...
...wife Martha must speak out in public, it must be in Swahili. But what husband has ever silenced his wife? Administering the oath of office to the new president of the American Newspaper Women's Club in Washington last week, Martha spoke in near-faultless Swahili: "Je unaaba kwa kweli kwemba ueazhwga . . ."*Ruled the Attorney General, who was present: "The oath in Swahili is perfectly legal...
...contender in a future Kentucky Derby may be Je Namath. Not the New York Jets' gimpy quarterback, but a brown three-year-old colt owned by Mrs. Liz Tippett (the former Mrs. Jock Whitney). "He's big and beautiful just like his namesake," said Mrs. Tippett. "But he's a little sounder in wind and limb-and he has good knees...
...shoes to scandals. In Amer ica, the bourgeois dismissed her as a wan ton. It was in Europe that she won her recognition - and lost her life when her trailing scarf wound around a racing-car wheel. Her last words seem written in art-nouveau script: "Adieu, mes amis, je vais à la gloire...
...Chinoise. If Godard's current films--reportedly staged cinema-verite, interview-oriented, documentary political essays--represent a completely new development in his work, then we can consider Made in USA, Deux ou Trois Choses que Je Sais D'Elle, La Chinoise, and Weekend transition pieces between the narrative power of Pierrot le Fou and the films to come. The first two are easily dismissable as films which fail to solve problems finally turned into assets in La Chinoise: audience alienation through revelations of the camera itself and of actors as actors; a growing feeling that truth must extend into...