What is the truth? And can you handle it? Notions of truth, perspective and judgment have long been staples of the courtroom drama, melded into specific social commentary concerning the cultural disparity between a country’s elders and its youth in Henri-Georges Clouzot’s late-career masterstroke, La Vérité. Released in 1960, where it would go on to nab an Academy Award nomination and win a Golden Globe, this was Clouzot’s last great hurrah, as the troubled production of 1964’s Inferno was never completed, while one final title in 1968 with La Prisonniere fell into immediate obscurity.
Arriving just as the Nouvelle Vague was redefining the stylistic possibilities of cinema, with Chabrol’s Les Bonnes Femmes, Truffaut’s The 400 Blows and Godard’s Breathless all arriving at or around the same time, Clouzot’s last notable hit stresses the divide of his classical filmmaking style with the topicality of a new generation.
Arriving just as the Nouvelle Vague was redefining the stylistic possibilities of cinema, with Chabrol’s Les Bonnes Femmes, Truffaut’s The 400 Blows and Godard’s Breathless all arriving at or around the same time, Clouzot’s last notable hit stresses the divide of his classical filmmaking style with the topicality of a new generation.
- 2/26/2019
- by Nicholas Bell
- IONCINEMA.com
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