Word: truffauts
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...another seminal essay, the 1962 "White Elephant Art vs. Termite Art," he focused his laser gaze on the new arthouse high priests, Francois Truffaut and Michelangelo Antonioni, finding them - and, by extension, their American admirers - guilty of a new version of Manny's original sin: "filling every pore of a work with darting Style and creative Vivacity." (Oh, the castrating sarcasm of the upper-case S and V.) He defined the first part of his dialectic as "Masterpiece art, reminiscent of the enameled tobacco humidors and wooden lawn ponies bought at white elephant auctions decades ago..." What he wanted...
...midst of another long, overheated summer at the multiplexes, this slightly subversive thought occurs to me; maybe we should sub-contract most of our thriller business to the French. From Claude Chabrol to Francois Truffaut (and beyond) they've shown a very entertaining respect for American crime and mystery stories. They see that the pressures crime places on otherwise peaceable citizens the opportunity to explore authentic emotions without sacrifice of suspenseful entertainment...
...1960s, French filmmaker Jean Delannoy directed nearly 50 films during his career, including critical successes such as L'Eternel Retour and Dieu a Besoin des Hommes. In 1954 he was famously felled by a scathing review in Cahiers du Cinéma by critic (and later filmmaker) François Truffaut, who accused Delannoy of clinging to an antiquated and pedestrian style. Yet in 1946, before Truffaut's time, Delannoy earned a Palme d'Or at the Cannes Film Festival for his most notable work, La Symphonie Pastoral, the tragic love story of a blind orphan...
...from someone of her blood - the conversation is bantering, often affectionate. In this chatty 2-1/2hr. film, Desplechin (Kings and Queen) seems to be going for the old French New Wave recipe of emotional warmth and cinematic wizardry. But the souffl? doesn't quite rise. This is faux Truffaut...
...winning writer-director of “Kramer vs. Kramer.†But rather than rehash his many successes, he and Maslin spent their 90 minutes together discussing the “grammar for films†he learned from the French New Wave masters François Truffaut and Jean-Luc Godard. Everything about their conversation, from the topic to the manner, was full of deference and humility.“This may not be the truth for everyone,†Benton said, referring to his filmmaking philosophy, “but it?...