Word: truffauts
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...have the video resources, get different versions of the same novel: Fran?ois Truffaut?s adaptation of ?Waltz into Darkness? and Michael Cristofer?s. Or the four films made from ?I Married a Dead Man?: the Hollywood ?No Man of Her Own,? the Indian ?Kati Patang,? the French ?J?ai ?pous? une ombre? and the Canadian-U.S. ?Mrs. Winterbourne.? Compare and contrast, class...
...director, best known for ?The Four Hundred Blows? and ?Jules and Jim? (warm Truffaut), also loved psychological thrillers (cool Truffaut). This one is cool - freon cold. Truffaut did a book-length interview with Hitchcock, and ?Bride? is supposed to be his homage to the Master of Suspense. But Julie, in her uninflected implacability, belongs less to Hitchcock than to Robert Bresson, the great French minimalist. His heroines - Joan of Arc, Mouchette, the suicidal young wife in ?Une femme douce? - all bear the cross of living. All seek the transcendence of death...
...Loach's fine 1969 film Kes, about another troubled teen contending with a troubled life. It is similarly handsome and similarly lacking in the overt didacticism that has scored many of Loach's later films, not always to their advantage. Its ending will also remind viewers of Truffaut's The 400 Blows--a lonely lad standing on an empty shore, contemplating a young life gone wrong, a future full of bleak ambiguity. But that obvious reference somehow enhances Sweet Sixteen, unselfconsciously connecting it to an honorable and engaging modern screen tradition. Written by Paul Laverty without a wasted or imprecise...
Harvey located the Eisenstein classic Ivan the Terrible, Part II—then thought to have been destroyed by Stalin—and premiered it at the Brattle. He was also responsible for introducing contemporary European directors such as François Truffaut, Michaelangelo Antonioni and Ingmar Bergman to America. When he won an Oscar for The Virgin Spring in 1961, Bergman even had Harvey accept the award...
...earlier film succeeds because Grant and Hepburn sparkle under Donen’s playful directing. Although he filmed in Paris alongside French New Wavers Francois Truffaut and Jean-Luc Godard in the early 1960s, Donen largely ignored the experimental techniques of his European colleagues and instead channeled his skills as an MGM musicals maestro into crafting a highly stylized and clever thriller scored by Henry Mancini and interlaced with a deadpan humor and snappy script. In one scene, as Grant’s character is forced atop the roof of a Parisian American Express building where he presumably will...