Word: luc
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Dates: during 1960-1969
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...Stolen Kisses begins with a shot of the Cinemathique in Paris and is dedicated to Henri Langlois, the popular man who runs it. And indeed the Nouvelle Vague movement in French films owes its existence to the Musee Cinema since most of the men in this movement-Truffaut, Jean-Luc Godard, Claude Chabrol, Erie Rohmer, Jacques Rivette-began their careers as critics for the highly-influential Cahiers du Cinema and have arrived where they are only after a long and detailed study of film history...
...Jean-Luc Godard would certainly resent the comparison, but he makes movies the way some manufacturers make washing machines-with planned obsolescence. Only a few years after their release, Godard films become museum pieces. His innovations are adopted by other film makers, who (like Haskell Wexler in the kinetic Medium Cool) either put his techniques to better dramatic use or (like Agnes Varda in the festival's ludicrous Lions Love) sink beneath the weight of aimless stylistic decoration. Le Go/ Savoir features Jean-Pierre Léaud and Juliet Berto sitting around a TV studio engaging...
...from Jean-Marie Gustave Le Clézio, France's best-known young novelist, are still occasions of note, but few other novelists are noted abroad. One exception is France's film makers, especially such directors as Francois Truffaut, Alain Resnais and Swiss-born Director Jean-Luc Godard...
...JEAN-LUC PONTY, ELECTRIC CONNECTION (World Pacific). Ponty not only plays violin, an unusual instrument in jazz, but he produces streaking arpeggios and comet trails of bent tones with a Coltranian intensity. This album, recorded with Gerald Wilson's orchestra when Ponty visited California last spring, should be enough to convince anyone that the violin can be a stirringly soulful jazz-solo voice. Classically trained, Ponty wails, shrills and sails through Hypomode de Sol, The Name of the Game and Scarborough Fair-Canticle...
...camera: "Watch out, Haskell, it's real!" Still, Wexler's dramatic attempts to reconcile personal and public crises lead him occasionally to overload his film. The romance never quite has the passion and urgency that it should, and the novice director's infatuation with Jean-Luc Godard deceives him into a gratuitous existential denouement (straight out of Contempt) in which the lovers hear about their involvement in a fatal car crash before it actually occurs. Wexler's sympathies are admittedly with the brutalized young, and he sets out to show the police as almost total villains...