Above: detail from the Argentinian poster for Magnet of Doom. Artist unknown.Jean-Paul Belmondo, the great French movie star who died last week at the age of 88, had a marvelous face. He wasn’t a classic matinee idol like his friend and compatriot Alain Delon but with the combination of his soulful puppy-dog eyes, lopsided boxer’s nose, and luscious feminine lips he could play both hoodlums or heartthrobs (and in Breathless he played both at the same time). A classic tough guy best known outside France for art movies, he was initially synonymous with the angry alienation of the French New Wave and starred in films by Godard, Truffaut, Melville, Malle and Lelouch. But he could play comedy as well as action (he was renowned for doing his own stunts) and was for a while promoted as a French James Bond. By the ’70s and ’80s—when he was...
- 9/16/2021
- MUBI
Rialto Pictures resurrects five classic titles from French auteur Claude Sautet in brand new Dcp versions for a mini-retrospective one week run in Los Angeles (July 24th – 30th) at the newly revamped Laemmle Royal Theater.
It’s a considerable spotlight on a neglected voice from one of 1970s French cinema most prominent figures. Sautet, who trained as a painter, sculptor, and music teacher before becoming a student of film, worked his way up to director in 1956 with his debut, Hello Smile! He continued with several film noir gangster films, like 1960’s Classe Tous Risques, a title that would gain wider consideration years later (and is now part of the Criterion collection). However, Sautet was most prominent as a screenwriter in the 1960s, passed over during the Nouvelle Vague as he adapted Jean Rodin’s novel Eyes Without a Face for Georges Franju, Backfire for Jean Becker, and Banana Peel for Marcel Ophuls.
It’s a considerable spotlight on a neglected voice from one of 1970s French cinema most prominent figures. Sautet, who trained as a painter, sculptor, and music teacher before becoming a student of film, worked his way up to director in 1956 with his debut, Hello Smile! He continued with several film noir gangster films, like 1960’s Classe Tous Risques, a title that would gain wider consideration years later (and is now part of the Criterion collection). However, Sautet was most prominent as a screenwriter in the 1960s, passed over during the Nouvelle Vague as he adapted Jean Rodin’s novel Eyes Without a Face for Georges Franju, Backfire for Jean Becker, and Banana Peel for Marcel Ophuls.
- 7/20/2015
- by Nicholas Bell
- IONCINEMA.com
Quentin Tarantino's 35mm movie haven, now 37 this year, ditched digital last Fall when he took over programming. Despite skepticism of this celluloid model, Tarantino's $8 35mm double features work with La audiences. (Last month, I attended a near-packed screening of Atom Egoyan's "Exotica." Who knew?) New Beverly's June program looks delicious to any La movie maven. From Hitchcock to Godard, Bogdanovich to Billy Wilder, there's a lot to love here. Diehard "Kill Bill" fans can catch "Vol. 2" every Friday in June at midnight. It's hard to believe that film is already over 10 years old. Read More: Quentin Tarantino Enjoys Running the New Beverly, Even When He's Shooting a Movie Jean Becker's rare ménage à deux "Backfire," starring the ultimate cinema dream team of Jean-Paul Belmondo and Jean Seberg, is a must-see for Nouvelle Vague completists. Preminger's "Anatomy of a Murder" looks dynamite on 35mm, and here...
- 5/28/2015
- by Ryan Lattanzio
- Thompson on Hollywood
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