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 Posted:   Sep 24, 2023 - 3:00 PM   
 By:   ibelin   (Member)

Another example of an intelligent film that is also entertaining: 'The Grey' (2011), starring Liam Neeson. Having seen only the film poster and some of Liam Neeson's previous films, I expected the film to be just another action blockbuster. However, it's actually an interesting take on death from a nihilistic perspective. And you get to see Liam Neeson fight off a pack of wolves, too! (This is not an endorsement of nihilism.)

 Posted:   Sep 24, 2023 - 3:01 PM   
 By:   Tall Guy   (Member)

Truffaut I haven’t really warmed to - but hack? That opinion is a victim of modern polemics wherein everything is either “awesome” or “shit”.

Unfortunately "hack" really lost its meaning in the modern internet era, like you stated. Now it means that Truffaut, according to a few people, is on the same level as a Brett Ratner or McG.

As for my own appreciation of Truffaut, if you haven't seen The Last Metro, The Bride Wore Black, or The 400 Blows those are my three favorites.

Le Cercle Rogue is a masterful classic from Melville but don't sleep on his lesser known films like Le Silence de la Mer or Léon Morin, Priest. Army of Shadows stands out as my all-time favorite from him. Among the greatest war films ever made.

All those are conveniently in a box set that I picked up a couple of years ago apart from Le Silence de La Mer. Impressive body of work, monochrome films about the resistance at one end and stylish gangsters generally involving the ever-sharp Alain Delon at the other.

 Posted:   Sep 25, 2023 - 1:55 PM   
 By:   Bob DiMucci   (Member)

After making a handful of short films during the late 1950s, Jean-Luc Godard made his feature film directorial debut with 1960’s BREATHLESS. In the film, small-time thief “Michel Poiccard” (Jean-Paul Belmondo) steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with hip American journalism student “Patricia Franchini” (Jean Seberg) and attempts to persuade her to run away with him to Italy.

Aside from the film's title, the distribution visa number, and the dedication to Monogram Pictures, there are no other credits or titles on the film. The entire cast and crew is uncredited.

On the eve of production, Godard wrote to producer Georges de Beauregard: "The poker game's about to begin. I hope to rake in a heap of dough. I want to thank you for trusting me and apologize in advance for many bad moods over the next months. ... I'm terrified and nervous."

According to cinematographer Raoul Coutard, some sleight of hand was involved in getting a permit to shoot on the streets of Paris. A complete script was needed to obtain the permit, so Godard had an assistant type up a mock script for a film that would never be shot. Despite reports to the contrary, Godard did not shoot the film without a script; however, he did not have a finished script at the beginning, instead writing scenes in the morning and filming them later that day.

To keep the production light and nimble, Godard insisted on natural lighting and that the actors not wear makeup. Although the usual method is to shoot footage with synchronized sound, the handheld camera used was so noisy, there was no way to record sound on the spot; the lines of dialogue were dubbed in post-production.

Godard couldn't afford a dolly, so he pushed Coutard around in a wheelchair through many scenes of the film. He got the idea from director Jean-Pierre Melville, who had used the same low-budget technique in BOB THE GAMBLER (1956) and THE SILENCE OF THE SEA (1949).

One day, Godard called at 8:00 a.m. to say he was sick from eating some bad food and couldn't work. He had someone on the crew call producer Georges de Beauregard and tell him. Although, according to Raoul Coutard, it was not a big deal, as cast and crew totaled only about seven or eight people, Beauregard was furious. A short time later, Beauregard went to have a drink and saw Godard sitting at the same café having breakfast. Coutard said they got into a fistfight and reporters from Paris Match had to pull them apart.

According to Melville, Godard asked him for consultation during the post-production stage, because the first edit was 30 minutes too long for distribution. Melville suggested Godard remove all scenes that slowed down the action (his own turn as novelist Parvulesco included). Instead of excluding entire scenes, though, Godard cut little bits from here and there. This led to the "jump cut" technique this movie introduced. Melville declared the result to be excellent.

Godard won the Silver Bear Award as Best Director at the Berlin Film Festival. Four cues from Martial Solal’s score were released on a Columbia EP in France. They were re-issued on CD by BMG Victor in 1994 on the Japanese compilation disc “Bandes Originales Des Films De Jean-Luc Godard.” BREATHLESS, which cost a reported $80,000 to produce, was a worldwide success, and earned $1.7 million in its U.S. release alone.

 Posted:   Sep 25, 2023 - 3:44 PM   
 By:   Indy1981   (Member)

Thank you, sir! I will follow your chronicle of Godard's filmography with great interest!

 Posted:   Sep 25, 2023 - 4:29 PM   
 By:   Bob DiMucci   (Member)

Actress Anna Karina’s first film with Jean-Luc Godard was the 1961 romantic comedy A WOMAN IS A WOMAN (Une femme est une femme). Karina plays “Angela,” a French striptease artist who is desperate to become a mother. When her reluctant boyfriend (Jean-Claude Brialy) suggests that his best friend (Jean-Paul Belmondo) impregnate her, feelings become complicated when she accepts. Godard wanted Brigitte Bardot for the role of Angela, but the actress was not available, therefore he chose Karina.

A WOMAN IS A WOMAN was Godard’s third feature film. His second, also starring Anna Karina (in her film debut), was LE PETIT SOLDAT, which was completed in 1960, but due to French censors was not released until three years later. Thus, A WOMAN IS A WOMAN was Anna Karina’s first film released. This was Godard’s first film in color and scope

For her performance, Anna Karina won the Best Actress Award at the Berlin Film Festival, and Godard was awarded a “Special Prize” at the Festival. Various tracks from Michel Legrand’s score have been released on Legrand compilation CDs. The $160,000 production did not receive the same acclaim as did BREATHLESS, nor the same box office. In the U.S, it grossed just $101,000.

 Posted:   Sep 25, 2023 - 6:44 PM   
 By:   nuts_score   (Member)

Alright! Now we are talking! A nice jab of the DiMucci Touch! Keep up the awesome work and updates on these threads, sir. Your work is much appreciated.

 Posted:   Sep 26, 2023 - 11:52 AM   
 By:   Bob DiMucci   (Member)

One of many French and Italian multi-segment films released during the 1960s, 7 CAPITAL SINS (Les Sept péchés capitaux) was a 1962 French film composed of seven different vignettes, one for each of the seven deadly sins. Each was by a different director and featured a different cast. At the time, it served as a showcase for rising directors and stars, many of whom achieved later fame.

The segments illustrated greed, envy, gluttony, lust, sloth, pride, and anger. The directors featured included Philippe de Broca, Claude Chabrol, Jacques Demy, and Roger Vadim. Stars on view included Jean-Pierre Cassel, Jean-Claude Brialy, Jean-Louis Trintignant, Jean-Pierre Aumont, and Claudine Auger.

Jean-Luc Godard wrote and directed the fifth segment—sloth. In the film, Eddie Constantine, playing himself, is a movie star who would rather pay someone to tie his shoe than bend over to do it himself. He is approached by a starlet (Nicole Mirel, playing herself) whom he takes to his home with well-stated intentions. But the hero's laziness is so relentless that he can’t be bothered to accept the offered sexual favors.

Michel Legrand scored Godard’s segment. The picture proved to be quite popular, with a worldwide gross of $9.9 million.

 Posted:   Sep 27, 2023 - 12:01 AM   
 By:   Bob DiMucci   (Member)

Godard occasionally made on-screen cameo appearances in other director’s films. Director Agnes Varda's most famous film may well be 1962's CLEO FROM 5 TO 7. The film looks at two hours in the life of "Florence 'Cléo' Victoire" (Corinne Marchand), a singer and hypochondriac, who becomes increasingly worried that she might have cancer while awaiting test results from her doctor. To pass the time while waiting for the news, Cléo meets her friend “Dorothée” (Dorothée Blanck), who poses as a nude model in a sculpture studio. Together they watch a silent comedy short (starring Jean-Luc Godard, Anna Karina, Jean-Claude Brialy, Eddie Constantine, and Sami Frey). Karina and Godard had married in 1961.

Jean-Luc Godard and Anna Karina in CLEO FROM 5 TO 7

Philips Records released an EP of four songs from the film, written by Michel Legrand and sung by Corinne Marchand. It is currently available from Disques CinéMusique as a download. Legrand also appears in the film as "Bob, the Pianist."

 Posted:   Sep 27, 2023 - 11:33 AM   
 By:   Bob DiMucci   (Member)

MY LIFE TO LIVE (Vivre Sa Vie) presents twelve episodic tales in the life of a Parisian woman, “Nana Kleinfrankenheim” (Anna Karina), and her slow descent into prostitution. The entire script fit on one page, where the sequence of episodes was laid out. The dialogue was not written in advance, and the actors said what was appropriate for the situation.

Jean-Luc Godard filmed the 1962 drama over the course of four weeks for $40,000. Raoul Coutard photographed the film with a heavy Mitchell camera, as opposed to the light-weight cameras used for Godard’s earlier films.

The film won the Special Jury Prize at the 1962 Venice Film Festival and was the fourth most popular movie at the French box office that year. Two tracks from Michel Legrand’s score were released on a 45rpm record, and the main theme has appeared on Legrand compilation CDs.

 Posted:   Sep 27, 2023 - 7:05 PM   
 By:   Bob DiMucci   (Member)

Godard’s LE PETIT SOLDAT is set during the French-Algerian War, where young Frenchman “Bruno Forestier” (Michel Subor) is an army deserter, a shutterbug, a reluctant rightist assassin, and a closet poet hoping for a death out of Cocteau. The comely anti-colonialist, “Veronica Dreyer” (Anna Karina), is Russian by birth yet shares her last name with the director of Day of Wrath, and knows that the ideals the French once had against the Germans are no more in Algeria—the war’s already lost.

The film was actually completed in 1960, and was Godard's second film after BREATHLESS (1960). It was shelved for three years by the French censors, due to its inclusion of torture scenes and other controversial political content. It wasn’t released in France until January 1963, which was after the end of the Algerian War. It took until 1967 to arrive in the United States, where it has enjoyed widespread critical acclaim. Maurice Leroux’s score has not had a release.

 Posted:   Sep 28, 2023 - 12:24 PM   
 By:   Bob DiMucci   (Member)

The strangely titled Ro.Go.Pa.G. (also known as "RoGoPaG") is a 1963 Italian-French film consisting of four segments, each written and directed by a different director. These were Roberto Rossellini (segment "Illibatezza"), Jean-Luc Godard (segment "Il nuovo mondo"), Pier Paolo Pasolini (segment "La ricotta",) and Ugo Gregoretti (segment "Il pollo ruspante").

“Il nuovo mondo” ("The New World") by Godard is set in Paris and shows a young couple during a short period after the explosion of a nuclear bomb 120 km over Paris. The city is unaffected by it, but the man (Jean-Marc Bory) begins to notice changes in the behavior of the people in general and in that of his wife (Alexandra Stewart) in particular in the period after the explosion: e.g., her inability to keep up a coherent conversation and a loss of logic. He himself is not affected, but he does not know why. The media reports that the explosion has not resulted in negative after-effects. The man realizes this is not true and decides to write down his observations.

Six cues from Carlo Rustichelli’s score were released on a CAM EP. Quartet released the full score, including many alternates, on a 30-track disc in 2017. Ro.Go.PA.G played the New York Film Festival in 1963, but did not receive a commercial release in the U.S.

 Posted:   Sep 28, 2023 - 9:31 PM   
 By:   Bob DiMucci   (Member)

Godard made a cameo appearance in one of his wife’s films with SCHEHERAZADE, a 1963 French, Spanish, Italian co-production filmed in France and Spain in Superpanorama 70 and six-track magnetic stereo sound. The film starred Anna Karina as the princess of the title. Godard has an uncredited bit part in the film as a beggar who walks on his hands:

Pierre Gaspard-Huit directed the film, with some sources also crediting Jacques Bourdon as co-director. The film was scored by André Hossein. The score was released on a Barclay LP and re-issued on CD by Disques CinéMusique in 2018. The picture was released in as many versions as there are ways to spell "Scheherazade." The French version was the longest, running 124 minutes. Italy cut the film to 105 minutes. When it was imported to the U.S. in 1965, distributor Shawn International released a 115-minute version, but in standard 35mm and mono sound.

 Posted:   Sep 29, 2023 - 11:19 AM   
 By:   Bob DiMucci   (Member)

Based on the play I Caribinieri by Benjamino Joppolo, LES CARABINIERS (The Soldiers), is an absurdist and satiric tale of two men, named “Ulysses” (Marino Mase) and “Michelangelo” (Albert Juross), who are met by soldiers who tell them that their king wants them to go to war, with promises of riches and such. At war, they have many strange encounters as they write of their exploits to their respective wives—“Venus” (Catherine Ribeiro) and “Cleopatra” (Genevieve Galea)—who are waiting for these riches. Once they return from war, the men present their wives with a taste of what they could get, only for everyone to realize the fallacy that is war.

Godard shot the 1963 film for $104,000. The picture first appeared in the U.S at the 1967 New York Film Festival, later opening commercially in a few American cities in the spring of 1968. Philippe Arthuys’ score has not had a release.

 Posted:   Sep 30, 2023 - 2:47 PM   
 By:   Bob DiMucci   (Member)

CONTEMPT is the story of the end of a marriage. “Camille” (Brigitte Bardot) falls out of love with her husband “Paul” (Michel Piccoli) while he is rewriting the screenplay of The Odyssey, a film by American producer “Jeremiah Prokosch” (Jack Palance). The director of Prokosch's film, Fritz Lang (playing himself), says that The Odyssey is the story of “the fight of the individual against their circumstance.” Similarly, CONTEMPT itself is an examination of the position of the filmmaker in the commercial cinema, given what Jean-Luc Godard was facing in the production of CONTEMPT. Italian producer Carlo Ponti had given him the biggest budget of his career, and he found himself working with a star of Bardot's magnitude for the first time.

Godard had been curious about making a big budget production. He later confessed that he hated making the film. The film is multilingual, with Jack Palance speaking English as an American producer while Brigitte Bardot and Michel Piccoli, her writer/husband, speak French throughout. When conversing with Palance, all their dialogue is translated on the screen by Giorgia Moll, playing Prokosch's obedient secretary and interpreter.

Originally, Godard wanted to have Kim Novak and Frank Sinatra as the two leads, but both actors turned it down. Producer Carlo Ponti suggested his wife Sophia Loren with her frequent co-star Marcello Mastroianni, but Godard turned down that idea. Godard traveled to Rome to ask Monica Vitti if she would portray the female lead. However, the Italian actress reportedly turned up an hour late, staring out the window like she wasn't interested at all. Finally, Bardot was chosen because of the producer's insistence that profits might be increased by displaying her famously sensual body. Michel Piccoli replaced the originally cast Raf Vallone, who was stuck filming Otto Preminger's THE CARDINAL (1963). In the film, Godard cast himself as Lang's assistant director, and characteristically has Lang expound many of Godard's New Wave theories and opinions.

Brigitte Bardot and Jean-Luc Godard discuss the script of CONTEMPT

Joseph E. Levine, whose Embassy Pictures was set to distribute the film in the U.S., insisted on a Brigitte Bardot nude scene, realizing that it was the only way he could sell a film that he hated. This provided the film's opening scene, shot by Godard after he had considered the film finished, as a typical mockery of the cinema business with its tame nudity. Godard called the film "the story of castaways of the Western world... who one day reach a mysterious island, whose mystery is the inexorable lack of mystery

Half the film's $1 million budget went to Bardot's fee. CONTEMPT was the seventh most successful film in 1963 at the French box office—a disappointment for Brigitte Bardot, but it was Jean-Luc Godard's biggest worldwide commercial success. The film was finally released to U.S. theatres in October 1964, after being held up by the censors at the New York Board of Regents. Ten minutes of Georges Delerue’s score was released on a Philips EP. The tracks were re-released on a 2001 Universal France Delerue-Godard compilation CD. For its Italian release, the film was re-scored by Piero Piccioni. His 53-minute score was released by Digitmovies in 2003.

 Posted:   Oct 1, 2023 - 12:32 PM   
 By:   Bob DiMucci   (Member)

In BAND OF OUTSIDERS (Bande à part), Godard returned to the world of the gangster for the first time since BREATHLESS. “Franz” (Sami Frey) and “Arthur” (Claude Brasseur) are two crooks with a fondness for old Hollywood B-movies who convince a languages student (Anna Karina) to help them commit a robbery. Anna Karina's character shares a name with Jean-Luc Godard's mother - Odile Monod.

The film’s narration is provided by Jean-Luc Godard. Several of the film’s scenes have inspired other filmmakers in creating similar scenes. When Franz, Arthur, and Odile are in a crowded café, Arthur and Odile decide to dance. Franz joins them as they perform a dance routine to a tune composed by Michel Legrand. Among others, the scene influenced the dance scene with Uma Thurman and John Travolta in Quentin Tarantino's PULP FICTION. In a later scene, Franz, Arthur, and Odile attempt to break the world record for running through the Louvre museum. The narrator informs viewers that their time was 9 minutes and 43 seconds, which broke the record set by Jimmy Johnson of San Francisco at 9 minutes and 45 seconds. The Louvre scene is referenced in Bernardo Bertolucci's 1968-based 2003 film THE DREAMERS, in which its characters break the Louvre record by 17 seconds.

Godard wrote the screenplay based on Dolores Hitchens’ novel “Fool’s Gold.” He shot the film for $120,000 in just twenty-five days, a time limit he set for himself. When asked why, he replied, “I always like to impose restraints upon myself. The freer I am, the more I feel I must force certain basic conditions and rules upon myself. I never agree with the conditions my producers set up, simply because these are never the right conditions with respect to the film's subject. Therefore, I try to find the right conditions and then live up to them.

“For instance, people have always told me that I rush through my films. They're very happy if I finish in four weeks instead of six. But let me finish in three weeks, and they're no longer happy - 'Ah, even so, you shouldn't do a rush job’. But it's not a question of that. It's a challenge I set up for myself.”

Godard discussed why he rarely has dialogue prepared in advance: “I write it at the last minute. That's so that the actor won't have any time to think about his dialogue and get himself prepared. That way, he has to give more of himself. He's more clumsy that way, but also more total. I leave my actors quite free. I correct theme very once in a while, if they do something that doesn't work or doesn't have anything to do with the subject. Simply because they can't realize as well as I do what the film is all about. But there's little rehearsing. Only two or three takes are ever made. Usually, it's the first or last that works. I explain how they're supposed to act the way Mack Sennett probably explained things to his actors: 'You come on, you do this and we start rolling.'

“On the other hand, for the dance scene in the cafè, we rehearsed for two weeks, three times each week. Sami and Claude didn't know how to dance. We invented the steps. It's an original dance, and we had to perfect it. It's a dance with an open, line figure. It's a parade. They dance for the camera, for the audience.”

BAND OF OUTSIDERS was named Best Film of the year by the French publication Cahiers du Cinema. It is often considered one of Godard's most accessible films; critic Amy Taubin called it "a Godard film for people who don't much care for Godard.” Pauline Kael described BAND OF OUTSIDERS as “a reverie of a gangster movie ...It's as if a French poet took a banal American crime novel and told it to us in terms of the romance and beauty he read between the lines; Godard recreates the gangsters and the moll with his world of associations -- seeing them as people in a Paris cafe, mixing them with Rimbaud, Kafka, Alice in Wonderland. This lyrical tragicomedy is perhaps Godard's most delicately charming film.” Godard acknowledged the film’s accessibility, saying “I wanted to make a simple film that would be perfectly understandable. For instance, when distributors see MURIEL [a film by Alain Resnais] or CONTEMPT, they can't manage to decipher them. Whereas BAND OF OUTSIDERS is completely clear.”

The film’s approachability has endeared the film to a broader audience. For example, it was the only Godard film selected for Time's "All-Time 100 movies". It was also ranked No. 79 in Empire magazine's "The 100 Best Films of World Cinema" in 2010. In tribute to the film, Quentin Tarantino named his film production company "A Band Apart." It was also Tarantino's favorite Godard film.

Michel Legrand’s score for the 1964 film has not had a release. Legrand’s credit in the film reads: “For the last time (?) on the screen Music by Michel Legrand”. It was not, of course, Legrand’s last score. At the end of the picture, the narrator mentions a possible sequel, but none was ever filmed. BAND OF OUTSIDERS played at the 1964 New York Film Festival and opened commercially in the U.S. in March 1966.

 Posted:   Oct 2, 2023 - 10:34 AM   
 By:   Bob DiMucci   (Member)

A MARRIED WOMAN (Une femme mariée) stars Macha Méril as “Charlotte Giraud,” a gorgeous housewife who has seemingly made a habit of cheating on her husband, though this is never explicitly confirmed. Said husband is “Pierre” (Philippe Leroy), an aviator who spends a great deal of time away from his wife. Charlotte’s boyfriend of three months (played by Bernard Noël) is a theatre actor named “Robert.”

While in Cannes in May 1964, Jean-Luc Godard met Luigi Chiarini, the director of the 1964 Venice Film Festival, and offered to make a film that would be completed in three months in time to premiere at Venice. With Chiarini’s acceptance, Godard wrote and directed this film, which was originally titled “The Married Woman.”

The film was shown at the Venice Film Festival on 8 September 1964 and was well received. Cahiers du cinema greeted “The Married Woman” as a major artistic and intellectual work. In September however, the Commission de Controle (the French censorship board) voted 13-5, with two abstentions, to ban the film. Objections centered on the title, which the board said implied all married women were adulterous, and on the film's devotion “to the salacious illustration of scenes of sexuality.” The Commission's reasons were not made public but were relayed to the minister of information, Alain Peyrefitte. He agreed to meet with Godard, and months of debate and negotiation followed. Godard believed the real problem was political and that “The people of the Commission have sensed that my film attacks a certain mode of life, that of air conditioning, of the prefabricated, of advertising.” Ultimately, Godard made a few changes, including the title, though he refused to remove references to concentration camp inmates that Peyrefitte had wanted. The film was released in France on 5 December 1964.

When the film was released in the U.S. in August 1965, distributor Royal Films International, not concerned with the French censors, advertised the film under its original title. The film does not have an original score. The credits are accompanied by a Beethoven string quartet – one of five that are heard in the course of the film. "Quand le film est triste", sung by Sylvie Vartan, accompanies a montage of magazine advertising images.

 Posted:   Oct 3, 2023 - 1:12 PM   
 By:   Nicolai P. Zwar   (Member)

Alright! Now we are talking! A nice jab of the DiMucci Touch! Keep up the awesome work and updates on these threads, sir. Your work is much appreciated.

Agreed. Only said something because so you don't get the idea no one is reading this.

 Posted:   Oct 3, 2023 - 3:10 PM   
 By:   Bob DiMucci   (Member)

Secret agent “Lemmy Caution” (Eddie Constantine), with the code number of 003 from "the Outlands," arrives in ALPHAVILLE. It's a technocracy ruled by a gravel-voiced central computer called Alpha-60, that has regimented humans into strict classes and split the city into zones of night and day, cold and warmth. “Professor Von Braun,” aka defector “Leonard Nosferatu” (horror icon Howard Vernon) is the brains behind the superbrain Alpha 60. Lemmy finds himself embroiled in a weird romance with “Natasha Von Braun,” the mastermind's daughter (Anna Karina) and plays semantic games when interrogated by the all-controlling computer.

Anna Karina and Jean-Luc Godard on the set of ALPHAVILLE

Jean-Luc Godard directed this 1965 genre movie. Despite its futuristic scenario, ALPHAVILLE was filmed entirely in and around Paris, and no special sets or props were constructed. Buildings used were the Electricity Board building for the Alpha 60 computer center and the Hotel Scribe.

Eddie Constantine came to the film through producer André Michelin, who had the actor under contract. Constantine had become a popular actor in France and Germany through his portrayal of tough-guy detective Lemmy Caution in a series of earlier films. Godard appropriated the character for ALPHAVILLE. Much of the dialogue in ALPHAVILLE was improvised. To satisfy the German backers, Godard had assistant director Charles Bitsch write a 30-page screen treatment for the film, which Godard completely ignored when filming. According to Bitsch, the German backers later asked Michelin to repay the money when they saw the completed film.

Five cues from Paul Misraki’s score were released by Volcano in Japan in 1999 as a standalone disc and were included on earlier Misraki/Godard compilation discs. ALPHAVILLE won the Golden Bear Award for Best Picture at the Berlin Film Festival. The film grossed $700,000 in the U.S.

 Posted:   Oct 3, 2023 - 3:24 PM   
 By:   Indy1981   (Member)

To satisfy the German backers, Godard had assistant director Charles Bitsch write a 30-page screen treatment for the film, which Godard completely ignored when filming.

It's impossible to imagine this happening in a contemporary Hollywood production, or even a present-day French production!

 Posted:   Oct 4, 2023 - 11:09 AM   
 By:   Bob DiMucci   (Member)

SIX IN PARIS (“Paris vu par…”) was another anthology film, in which six French New Wave directors contributed segments set in different sections of Paris. Among the directors were Claude Chabrol and Eric Rohmer. American cinematographer and documentary filmmaker Albert Maysles worked with Jean-Luc Godard to shoot the segment "Montparnasse-Levallois."

Godard conceived of his segment based on a sequence in his earlier film A WOMAN IS A WOMAN, in which “Alfred Lubitsch” (Jean-Paul Belmondo) reads a news story to “Angela” (Anna Karina) in a restaurant. That “news story” was itself based on the Jean Giraudoux story La Méprise (“The Mistake”) with the genders reversed in this film. Two men (Serge Davri as “Ivan” and Philippe Hiquilly as “Roger”) receive letters sent by their mutual lover mistakenly to the wrong person. Godard’s segment shows the plight of “Monica” (Joanna Shimkus), as she attempts to retrieve and amend the letters she sent.

This was the first French feature shot entirely in 16mm and then blown up for release in 35mm. Since the French Centre National du Cinéma did not support shooting in 16mm, which it considered substandard, for full length filming permits, but only for short subjects, producer Barbet Schroeder did not submit a request with them for a feature, but instead submitted six separate short subject requests, which are shown in the opening credits.

The film had no original score. Although the 1965 film was screened at that year’s New York Film Festival, it did not open commercially in the U.S. until 1969.

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