Word: renoirs
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...Desire had no merit save the pictorial beauty created by its celebrated photography director, it would still be regarded as a fine motion picture. When Claude Renoir opens the movie with a superb painting of yellow flowers, green fields, and turquoise sea, he sets up an artistic standard that is sustained throughout the picture. White and blue-gray winters, lugubrious shots of motley interiors, and overcast hunting scenes do at least as much to develop moods as the dialogue and acting. Though masterful in its own right, Renoir's delicate camerawork also does much to control the frail and precise...
John B. Davidson '65, chairman of the student committee that is planning the show, said yesterday that a similar exhibition at the Fogg several years ago filled five galleries with originals by Miro, Rousult, and Renoir, among others...
From Jean Renoir we expected more. In his 1938 masterpiece, The Grand Illusion, Renoir established the pattern for future prison escape movies. The Elusive Corporal, set in a World War II camp, certainly should not be the trite and unamusing bundle of cliches that it turned out to be. The intervening twenty-five years seem to have detracted from the man's skill at story-telling instead of sharpening it, a sad inversion of the usual relationship between time and talent...
Grand Illusion evoked nostalgia for the comfortable 1914 world that charmed the audiences of the thirties and continues to charm viewers today. Renoir's screenplay innovations (like the famous "Marseillaise" Scene that Micheal Curtiz lifted for Casablanca) were well supported by three superb performances from Pierre Fresnay, Jean Gabin, and Erich von Stroheim...
...newer offering lacks both originality in screenplay and inspiration in performance. One might think that Elusive Corporal evokes nothing and essentially tells nothing because it is an adaptation from a novel instead of an original Renoir creation. But the theft of ideas from other films is unforgivable and infuriating. Remember that hilarious scene in Stalag 17 when Harry and Animal paint a white line down the middle of the road to the Russian women's compound? Renoir turned his team of escapers into road measurers instead of painters. Escape from Colditz, A British film of the early fifties...