Word: jeane
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Dates: during 1960-1969
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...retrospective screenings, as initially scheduled, looked less interesting than usual, they were made even worse by the last-minute cancellation of Jean Renoir's 1932 film "La Chienne," long considered one of the director's finest films. With the Renoir gone, the only "revivals" at the Festival were "A Woman Of Affairs," a mediocre Garbo film directed by a Metro hack, Clarence Brown, and "The Cheat," an old DeMille silent which the Festival apparently screened at sound speed (30 per cent faster...
Actually, another major fault of the Fourth New York Film Festival was that the best films shown were those made by the best-known directors: Bresson, Jean-Luc Godard, Luis Bunuel, Alain Resnais, Adnes Varda. The Festival failed to screen any films of importance by unknown film-makers, and also little that won't be seen again. The box-office power of directors like Resnais and Godard will assure almost all of the Festival's films a theatrical release sooner or later...
...excellent Godard films shown, "Masculine Feminine," a violent and genuinely witty film about young people in Paris, was most popular, and "Pierrot Le Fou" was the best -- one of Godard's greatest achievements. On the surface, "Pierrot Le Fou," the 1965 film starring Jean-Paul Belmondo and Anna Karina, is a color and cinema-scope re-make of "The Maltese Falcon." But thematically, Godard's film is much blacker and more terrifying than its melodramatic plot line would imply...
Masculine Feminine. Here's that man again. Jean-Luc Godard is his name, and for the past seven years he has been spewing out a veritable Seine of cinema. Though mercifully divided into 80-minute stretches and released as eleven separate features (among them Breathless, My Life To Live, Alphaville) Godard's work is intended as a single film. It is his Comedie Humaine, an intricate, enormous, tricky-trashy yet heart-stabbingly poetic attempt to cinemulate Balzac's masterpiece...
Godard's latest installment, subtitled The Children of Marx and Coca-Cola, is a cubistic jigsaw-puzzle picture of the go-go generation. In his usual abrupt abstract style, Godard scatters the screen with dissociated pieces of plot: a Marx-marked high school dropout (Jean-Pierre Leaud) meets and mates a Coke-stoked rock-'n'-roll belter (Chantal Goya), but not long after dies in an absurd accident, leaving the girl to face an amateur abortion performed with a curtain rod. The puzzle is further complicated by irrelevancies: switchblade suicide, lesbian interlude, subway murder, movie within...