Word: parisian
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Dates: during 1960-1969
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...WOMAN IS A WOMAN. France's Jean-Luc Godard glorifies the offbeat amours of a Parisian stripteaser (Anna Karina) with some gay, giddy improvisations inspired by New Wave esprit and a handful of old Hollywood musicals...
Loosely shaped like a musical sans songs, and almost sans plot, the film plunges headlong into the life and loves of Angela (Anna Karina), a Parisian stripteaser who shares her room at the top with a bicycle racer (Jean-Claude Brialy). Their relationship has obviously been built on the flimsiest of foundations-too many Hollywood double features. One day Angela announces: "I think I'm alive." Suddenly she wants to have a baby, but the bicycle rider does not share her idée fixe...
...serious students of the cinema will want to probe the problems which de Broca's not-so-new film raises, problems beyond Harvey's ignorant laughter. Is Belmondo a French Marlon Brando? Or a Parisian Humphrey Bogart? Or, perhaps, a James Bond full of happy pills? Though each of these positions is defensible and, indeed, held by supposedly reputable critics, the clearest judgement must recognize Belmondo as only Belmondo, that is, Boob as Anti-Hero...
...preferable," asks a German travel agent, "the grotesque, quasi-colonialist old-style tourists, or the traveling beatniks, who bum their way from city to city, sing folk songs and pass the hat in real and phony artists' dives, and accept any job that will subsidize their tours?" Any Parisian who caught the act along the Rue Scribe this summer would be hard put to make the choice. Daily, the area around American Express headquarters swarmed with disheveled U.S. youths who were so desperate for a hitchhike that they stuck up placards along the walls, and were so broke that...
This was a frank and French appraisal of Hollywood practicalities, but it belies what he really thinks of himself as an actor. Trained at the Paris Conservatory, and an early success on the Parisian stage, he sees himself as an artist of stature and he has repeatedly proved it, most notably in the 1951 Broadway production of Don Juan in Hell, two years later in Kind Sir with Mary Martin, and in 1962 in Lord Pengo, a bad play from which he salvaged superior notices...