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Word: renoirs (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

Pierrot and his love, Marianne Renoir, who resembles Auguste Renoir's nudes, reach the sea and eternity and set out to lead their idyllic existences together. As they walk along the beach, the sea washes over and erases their footprints...

Author: By Theodore Sedgwick, AT THE ORSON WELLES | Title: Pierrot Le Fou | 5/2/1969 | See Source »

...lady had lived in the same University Road apartment for 10 years, paying 70/month the entire time. She let us in suspiciously, but quickly warmed up, seemed glad to talk. The apartment was scrupulously clean, with cheap Renoir and Degas prints on the walls...

Author: By David N. Hollander and Carol R. Sternhell, S | Title: You Smell the Grass But Can't Make Flowers Grow | 4/19/1969 | See Source »

This extraordinary incorporation of individual into collective motion propels the film forward. We are inevitably carried from the Revolution's beginnings in the Midi to the storming of Versailles, a span of several years and several hundred miles. That Renoir can make a film of this scope which scarcely slackens its pace, while sticking closely to the passions and actions of single men, proves (if proof were necessary) his genius...

Author: By Mike Prokosch, | Title: 'La Marseillaise' | 3/24/1969 | See Source »

...lodge perfectly establishes the decadence and staticity of their lives. The scene showing them is diverse in character and conduct; the variety of the aristocrats' feelings and actions is the substance of their social actions. But their entire milieu is doomed, simply because it does not move. Set against Renoir's virile shots of the revolutionaries, simple and full of strong light-dark contrast, the over-refined nobles stand no chance...

Author: By Mike Prokosch, | Title: 'La Marseillaise' | 3/24/1969 | See Source »

...tract), to create a world of permanence--the land, into which all the characters' actions flow. This formal method realizes the plot to give the film a feeling of fatality an fixity. The world of La Marseillaise is a world of motion. But the moral structure of the films--Renoir's view of the place of personal feelings and actions in the world--is the same. Both films are created, closed works, the setting of La Marseillaise being as purely evocative (again, one couldn't draw a map of the setting) as that o Toni. Into this setting Renoir...

Author: By Mike Prokosch, | Title: 'La Marseillaise' | 3/24/1969 | See Source »

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