It's heart-warming to see, in Bertrand Tavernier's majestic documentary series Voyage à Travers le Cinéma Français, how he pays special attention to the neglected Edmond T. Gréville. I mainly know this cinephile-cineaste from his British pictures, the beautiful, almost Sternbergian espionage melodrama Secret Lives of 1937, the fast-talking crime flick Noose of 1948, and the gloriously ludicrous Beat Girl of 1960, which has to be seen not to be believed. From this disparate, flaky assortment, it was clear something interesting was going on with M. Gréville.Tavernier points us especially towards Menaces... (1940) an ensemble drama in which international residents in a Paris hotel (one of those cramped, vertical affairs: think Hotel du Nord) face the coming of WWII with various forms of bravery, larceny and despair. French glamor icons Mireille Balin (Pépé le moko) and Ginette LeClerc (Le corbeau) are supported by Gréville's English wife Wanda, playing an unconvincing American, and British...
- 1/31/2018
- MUBI
Michel Piccoli and Romy Schneider in Max Et Les Ferrailleurs - Bertrand Tavernier: "I see Claude Sautet as the son of Jacques Becker."
In the third and final installment of my conversation with Bertrand Tavernier on his Journey Through French Cinema (Voyage À Travers Le Cinéma Français) he discusses his dedication to Jacques Becker (Casque D'Or, Édouard Et Caroline) and Claude Sautet (Max Et Les Ferrailleurs), Mireille Balin's dress in Jean Delannoy's Macao, l'Enfer Du Jeu (Gambling Hell), Jean Gabin, not forgetting Jean-Pierre Melville's Army Of Shadows (L'Armée Des Ombres), Léon Morin, Prêtre or Le Silence De La Mer, Jean Paul Gaultier and Falbalas (Paris Frills), Mila Parély in Coco Chanel, Jean Renoir's A Day In The Country (Partie De Campagne), Joseph Kosma, Sylvia Bataille and Jacques Lacan, Howard Hawks's Red River and Only Angels Have Wings, and not having to see Rio Bravo ever again.
In the third and final installment of my conversation with Bertrand Tavernier on his Journey Through French Cinema (Voyage À Travers Le Cinéma Français) he discusses his dedication to Jacques Becker (Casque D'Or, Édouard Et Caroline) and Claude Sautet (Max Et Les Ferrailleurs), Mireille Balin's dress in Jean Delannoy's Macao, l'Enfer Du Jeu (Gambling Hell), Jean Gabin, not forgetting Jean-Pierre Melville's Army Of Shadows (L'Armée Des Ombres), Léon Morin, Prêtre or Le Silence De La Mer, Jean Paul Gaultier and Falbalas (Paris Frills), Mila Parély in Coco Chanel, Jean Renoir's A Day In The Country (Partie De Campagne), Joseph Kosma, Sylvia Bataille and Jacques Lacan, Howard Hawks's Red River and Only Angels Have Wings, and not having to see Rio Bravo ever again.
- 6/16/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Bertrand Tavernier with Anne-Katrin Titze: "Josef von Sternberg's Macao. Dubbed in Vietnamese and I have never been able to watch the film again ..." Photo: Sophie Gluck
The day before the opening of the 54th New York Film Festival, I met with Bertrand Tavernier for an in-depth conversation on his documentary My Journey Through French Cinema (Voyage À Travers Le Cinéma Français) that spanned fashion from Mila Parély wearing Coco Chanel's ocelot coat in Jean Renoir's La Règle Du Jeu, the daring of Mireille Balin's deep décolleté in Jean Delannoy's Macao, L'Enfer Du Jeu, to Jean Paul Gaultier's reaction to Jacques Becker's Falbalas.
Bertrand Tavernier: "Also, it's learning about myself. How I discovered those films."
Also, Robert Mitchum in Vietnamese, never having to see Howard Hawks's Rio Bravo again, Yves Montand and the birth of Autumn Leaves, Ernst Lubitsch interactions between Lino Ventura...
The day before the opening of the 54th New York Film Festival, I met with Bertrand Tavernier for an in-depth conversation on his documentary My Journey Through French Cinema (Voyage À Travers Le Cinéma Français) that spanned fashion from Mila Parély wearing Coco Chanel's ocelot coat in Jean Renoir's La Règle Du Jeu, the daring of Mireille Balin's deep décolleté in Jean Delannoy's Macao, L'Enfer Du Jeu, to Jean Paul Gaultier's reaction to Jacques Becker's Falbalas.
Bertrand Tavernier: "Also, it's learning about myself. How I discovered those films."
Also, Robert Mitchum in Vietnamese, never having to see Howard Hawks's Rio Bravo again, Yves Montand and the birth of Autumn Leaves, Ernst Lubitsch interactions between Lino Ventura...
- 9/30/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Translators introduction: This article by Mireille Latil Le Dantec, the first of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.
Filmmaker maudit?...
Filmmaker maudit?...
- 11/30/2014
- by Ted Fendt
- MUBI
Jean Gabin, Simone Simon, La Bête Humaine Jean Gabin on TCM: Grand Illusion, Pepe Le Moko, Touchez Pas Au Grisbi Schedule (Et) and synopses from the TCM website: 6:00 Am Gueule D'Amour (1937) A retired cavalry officer discovers the woman who won his heart was in love with the uniform. Dir: Jean Grémillon. Cast: Jean Gabin, Mireille Balin. Bw-88 mins. 8:00 Am Remorques (1941) A married tugboat captain falls for a woman he rescues from a sinking ship. Dir: Jean Grémillon. Cast: Jean Gabin, Alain Cuny, Bw-83 mins. 9:30 Am Le Jour Se Leve (1939) A young factory worker loses the woman he loves to a vicious schemer. Dir: Marcel Carne. Cast: Jean Gabin, Jacqueline Laurent, Arletty. Bw-90 mins. 11:00 Am L'air De Paris (1954) An over-the-hill boxer stakes his fortune on training a young railroad-worker. Dir: Marcel Carne. Cast: Arletty, Jean Gabin, Roland Lesaffre. Bw-100 mins. 1:00 Pm Leur Derniere Nuit (1953) A schoolteacher...
- 8/19/2011
- by Andre Soares
- Alt Film Guide
Jean Gabin was France's answer to Humphrey Bogart, many (English-language) historians have claimed. Either that, or Gabin was France's answer to Spencer Tracy. Never mind the fact that Gabin was a major international star before either Bogart or Tracy achieved Hollywood stardom. In other words, if there was someone emulating someone else, it was Bogart and Tracy who followed the Frenchman's lead so as to become the American Jean Gabins. Turner Classic Movies is devoting a whole day to Jean Gabin's movies today, August 18, as part of its "Summer Under the Stars" series. [Jean Gabin Movie Schedule.] Right now, TCM is showing Julien Duvivier's Pépé le Moko (1937), the tale of a Parisian gangster (Gabin) hiding in Algiers' Casbah neighborhood, but who becomes careless after he falls for a beautiful woman (Mireille Balin, Gabin's co-star that same year in Jean Grémillon's Gueule d'amour / Lady Killer). Those whose idea of cinema begins...
- 8/19/2011
- by Andre Soares
- Alt Film Guide
Hedy Lamarr, Ecstasy It's Hedy Lamarr evening on Turner Classic Movies tonight, beginning at 5 p.m. Pt. TCM will be showing five Lamarr vehicles, including the scandalous Ecstasy — nudity, sex, orgasm! — made by Gustav Machatý in Czechoslovakia in 1933, five years before Lamarr's Hollywood debut in Algiers. There's no nudity, sex, or orgasms in Algiers, but there's lots of cigarette smoking — much more damaging to one's health than orgasms — and Charles Boyer not saying "Com wheez me to ze Casbah!" Jean Gabin and Mireille Balin starred in the original French version, Pépé le Moko, released the year before — which shows that Hollywood's penchant for remaking French movies is nothing new. In Victor Fleming's Tortilla Flat, Lamarr looks great and sounds all wrong as Monterey's Dolores Ramirez — but her performance is a masterpiece of acting compared to those of fellow Hispano-Americans Spencer Tracy and John Garfield. The [...]...
- 10/21/2010
- by Andre Soares
- Alt Film Guide
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