Word: parisians
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PULP PROPHET White-maned, white-suited, his omnipresent cigar cocked at a jaunty angle, Sam Fuller, encountered in Parisian exile, briefly stilled the stream of consciousness that usually rushed across his gravel-bed larynx. He was searching for something he rarely offered in his movies--a neat summarizing idea. "That's it," he finally offered. "A director takes a song, a lyric, and makes a symphony of it. Does that make sense...
...though repetitive, mix of interviews, concerts, and more interviews. He also uses old film footage to fine effect--for example, juxtaposing a scene of a very stoned Neil Young & Crazy Horse circa '76 (bearing an eerie resemblance to the guys from This is Spinal Tap) burning flowers in a Parisian hotel room with clips of the band today as elder statesmen of rock: men with a past that resonates in their music...
Picasso plays with the conceit of an imaginary meeting between Albert Einstein (Mark Nelson) and Pablo Picasso (Paul Provenza) in a Parisian bistro right at the turn of the century. Both men are in their early twenties, and each one is on the verge of his greatest accomplishments. During the course of the evening, the two men argue, duel, exchange ideas and learn a thing or two from the other. Martin keeps the surprises coming, and any who see the play may rest assured that they will be delighted at the special "guest" he introduces near...
Noir! The very word sounds like a French lion's growl. In its undiluted form, film noir (named after Serie Noir, a French publisher's line of crime novels) is tart and murky, like cheap Parisian coffee, and as mean as any Marseilles street a gangster could skulk down. These dank moral tales are about the evil that taints everyone--especially the hero, who must end up dead or disgraced. This disqualifies Hollywood neo-noir like L.A. Confidential, where at the fade-out two guys and a gal grin as if they'd just seen Singin' in the Rain...
Godard, the Don Corleone of the French New Wave, speaks a language that is both unfamiliar and seductive. As a university student in Paris in the 1950s, Godard spent his days in dark pockets of Left Bank cinema clubs. He soon began to contribute to Parisian film journals, in which he wrote reviews and articles under the whispery pseudonym Hans Lucas. When his wealthy parents cut off his pocket money, he took to robbery but remained an avid fan of the cinema, even from the depths of a prison cell...