Lost in the Movies: french film
Showing posts with label french film. Show all posts
Showing posts with label french film. Show all posts

FINAL Lost in the Movies Patreon podcast • Episode 100 - Concluding the 10s & Reaching the 20s w/ 12 Films in Focus: The Tree of Life as Twin Peaks Cinema, The Lighthouse w/ guest Riley MacDonald, The Fabelmans, Avatar: The Way of Water, Moonlight, The Master, The Act of Killing, Amour, The Florida Project, The Turin Horse, Uncle Boonmee Who Can Recall His Past Lives, Toni Erdmann, 40s/30s/silent archive readings of Kiss of Death, Bambi, The Magnificent Ambersons, Three Comrades, The Mind Reader, The Battleship Potemkin, The Cabinet of Dr. Caligari, Be Kind Rewind, Landmarks of Early Film + feedback & more


For most of this year, I've been promising a grand finale to the patron podcast that began in January 2018. This episode also doubles as a conclusion to the decades series launched in August 2023, in which I initially covered films from the 1980s and then stretched out in either direction, finally reaching the 2010s and 1950s in Episode 99. The bulk of the movies discussed in those earlier episodes were given the capsule treatment (less than ten minutes, often less than five, dwelling on just a few aspects); this time, every single topic is a "film in focus" with my review running at least fifteen minutes, in many cases in half hour, and in a few even longer than that. These dozen films wrap up the teens decade and tiptoe into the twenties with two relatively new releases - Avatar: The Way of Water and The Fablemans - which I saw in theaters earlier this year, and which pair up nicely given their complementary contrasts. The line-up also includes a guest discussion with Riley MacDonald on Robert Eggers' crusty psychological horror flick The Lighthouse and one last "Twin Peaks Cinema" analysis, comparing the David Lynch/Mark Frost series, especially but not exclusively the third season, to The Tree of Life, Terrence Malick's epic meditation setting a fifties Texas childhood against the backdrop of the creation of the universe. While a couple selections are fairly random (The Master and The Florida Project), six of the other titles were specifically selected because they are the most acclaimed films from the decade that I'd never seen before: Uncle Boonmee Who Can Recall His Past Lives, Toni Erdmann, The Turin Horse, Amour, Moonlight, and The Act of Killing.

All of those reflections are packed into a single massive upload (my longest single podcast file) that was finally published a few days ago as a belated October $1/month tier reward; however, I'm cross-posting the whole Episode 100 separately from my monthly round-up because it actually spans several months. I released a set of public archival readings earlier in the year (extending the decades theme in the other direction by sharing pieces I'd previously written about forties, thirties, and silent cinema), and a couple months ago I published the opening of the podcast, an intro with some updates and a long gathering of listener (and viewer and reader) feedback. Though I intended to end that section before Episode 100, I received so many interesting responses in the spring and summer that I wanted to give it one last go. Altogether, the entire package runs over eight and a half hours. If you've not yet become a patron, keep in mind that by joining you'll be able to access not only this whole episode but an archive spanning half a decade including much material that was never made public. The monthly round-up will be presented in a few days but for now, the focus is on this farewell to one of my longest running endeavors...

Sight & Sound #7 Beau Travail (LOST IN THE MOVIES podcast #57)



A week after this Sight & Sound podcast miniseries covered the #1 film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles with guest Ashley Brandt, I'm back for a solo discussion of another film I just watched for the first time: Claire Denis' 1999 Beau Travail. Placing high on both the critics' and directors' lists - and shooting way up the ranking since 2012 - the film is a fascinating, deeply unusual exploration of desire, discipline, and repression. Chronicling the idiosyncratic French Legion in former colony Djibouti with dreamlike choreography and elliptical plot machinations inspired by Herman Melville, Denis depicts a tense but indirect conflict between soldiers Galoup (Denis Lavant) and Sentain (Gregoire Colin). Gorgeous visuals and stirring music (ranging from modern opera to nineties Europop) make this film at least as much a sensory experience as a cerebral one, yet I found a lot to talk about with its themes and characterizations. In fact, the vivid viewing experience inspired me to go back and explore Billy Budd, teasing out what Denis changed from the century-old novella she used as inspiration as well as the significance of those changes: shifts in perspective, emphasis on certain characters rather than others, and how the historical context affects what we take away from the central struggles.


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belated November 2022 Patreon round-up • LOST IN THE MOVIES patron podcast #97 coming this week: The 00s in November (& beyond) + 60s bonus & Concluding the 90s & 70s... Godard's Weekend & Southland Tales w/ guest Andrew Cook (w/ his feedback & my capsule on 300, more capsules on Bonnie & Clyde, The Graduate, Midnight Cowboy, The Swimmer, Dr. Strangelove, No Country for Old Men, There Will Be Blood, Zodiac, A History of Violence, Brokeback Mountain, Eternal Sunshine of the Spotless Mind, The Darjeeling Limited, The Dark Knight, Gangs of New York, 500 Days of Summer, The Ring, Donnie Darko, The Box, Dog Day Afternoon, The Muppet Movie, The Muppet Christmas Carol, The Witches, Heat, The Blair Witch Project, Edward Scissorhands, Election, Groundhog Day, Total Recall, Dick Tracy, archive readings of my reflections on the 00s decade, To Kill a Mockingbird, Breathless + much, much more including feedback/media/work updates) + 3 TWIN PEAKS Character Series advances & Twin Peaks Conversations podcast


The Patreon episode intended for last month will be released in four parts.
These links will be updated as the episodes are published in mid-December...

Jean-Luc Godard's Weekend (capsules on Bonnie & Clyde, The Graduate, Midnight Cowboy, The Swimmer, Dr. Strangelove, Dog Day Afternoon, The Muppet Movie, The Muppet Christmas Carol, The Witches, Heat, The Blair Witch Project, Edward Scissorhands, Election, Groundhog Day, Total Recall, Dick Tracy, archive reading of To Kill a Mockingbird + feedback/media/work updates & more)

(readings of Breathless, The Wild Bunch, Cleo From 5 to 7, Before the Revolution, The Loneliness of the Long-Distance Runner, Loves of a Blonde, Primary, 4 Days in November, Dear Brigitte, The Trip, Greetings & the Olympics + 60s/00s crossover w/ The Life & Death of Peter Sellers)

Southland Tales w/ guest Andrew Cook (w/ his feedback & my capsule on 300 + capsules on No Country for Old Men, There Will Be Blood, Zodiac, A History of Violence, Brokeback Mountain, Eternal Sunshine of the Spotless Mind, The Darjeeling Limited, The Dark Knight, Gangs of New York, 500 Days of Summer, The Ring, Donnie Darko, The Box & archive reading of my reflections on the decade)

(readings of 25th Hour, Inland Empire, earlier reviews of The Dark Knight & 500 Days of Summer, You Can Count on Me, Funny Ha Ha, Thirteen, The World, Iraq in Fragments, The Story of Marie and Julien, The Girlfriend Experience & the Olympics)


Introducing the episodes

As we spread out from August's focus on the eighties, moving into earlier and later decades in each direction, we reach two eras forty years apart. Yet they make the perfect pairing in my mind, in part because I was obsessed with the sixties during the zeroes, a time I experienced firsthand and which shaped my perceptions of the world for better or worse. In a way, these decades are a natural fit at least from the American perspective: both haunted by national traumas (Kennedy's assassination and 9/11), both dogged by quagmire wars of choice (Vietnam and Iraq in particular), both racked by technological transformations which troubled as well as enticed (inward for the age of the iPhone, outward for the epoch of the moonshot). But while the sixties gave birth to a vibrant youth counterculture and political resistance, the zeroes often felt like a dead zone to those of us living through it. This was part of my hunger for sixties media; I sought work which excavated and explored the turbulence that I could feel under the surface in the cold, sterile, repressed Bush era but which somehow always remained locked off. These were periods of deep societal alienation which expressed that alienation in very different ways.

With all that in mind what better film to focus on than Richard Kelly's Southland Tales, the sprawling, notorious follow-up to his cult classic Donnie Darko (which I discuss more briefly in this podcast, along with its own deep if different zeroes zeitgeist connections)? Set in an alternate version of 2008 but shot in 2006, it imagines an America whose War of Terror tremors have caught up with a culture that just wanted to go shopping - transforming the country into a manic police state with an active resistance and wild sci-fi developments emerging virtually overnight. Ambivalent after my first viewing years ago, I invited Andrew Cook as a return guest (after our Eyes Wide Shut episode); he's a big Kelly fan who knows the film inside and out which made for an interesting dynamic as I tried to wrap my head around it. This is one of the longest film in focus podcast segments I've ever recorded, running over an hour as we dig into both the film and the era it depicts...and re-invents as something else (perhaps the Trump era to come). This also makes for an offbeat but appropriate pairing with my sixties film in focus, the very different avant-garde apocalypse of Weekend. Here Jean-Luc Godard reaches the apotheosis and negation of his radical sprint through the decade, anticipating the chaos of May '68 months ahead of time. The selection, in which I wrestle with a film that converted me to Godard when I first saw it but which I had more trouble with this time, is one more tribute to the legendary director who passed away in September (I also focused on his eighties film Hail Mary in a previous episode).

Elsewhere, Andrew's contributions continue when I read his in-depth feedback (alongside my own short reflection) on Zack Snyder's 300, an iconic, and much more popular, film by another of his favorite directors. In capsule form, I run through a number of memorable zeroes films alongside a smaller selection of sixties classics, wrap up my viewings of the nineties (alongside a pair of quite different seventies classics), and offer updates on my recent intake and output in several mediums. Most notably, in addition to a couple archive pieces that I wanted to center and share on their own - a meditation on the power and limitation of To Kill a Mockingbird and a broad polemic expressing my frustration with the state of American culture in the Bush era - I'm also gathering a number of pieces focused on each decade into two public archive episodes, offering a survey not just of zeroes and sixties cinema, but my own perception of them at various points.

As noted in the introduction to this podcast, I am planning to wrap up this podcast approach - combining updates with film reviews and other topics in a main montly episode - after reaching #100 in February. Though there's still much content to come in those months, I can't think of a better way to begin my ending than with this particular episode(s).



Meanwhile, I've continued chugging along with my advance character studies every month - although I need to pick up the pace if I want to have the necessary backlog ready at year's end for a 2023 public debut. November's trio includes one of the third season's scummiest characters alongside one of its most heroic. Unlock these pieces for $1/month to learn more...

(become a patron to discover their identities)


And Patreon also housed my $5/month tier reward, the second part of my discussion with the director of The People's Joker (as discussed in last week's cross-post). Southland Tales comes up again too!


Podcast Line-Ups for...

belated September 2022 Patreon round-up • LOST IN THE MOVIES patron podcast #95: The 90s in September (& beyond) + 70s bonus & Concluding the 80s ... Pulp Fiction, Klute, Red Dawn, Do the Right Thing & Hail Mary (capsules on Stranger Things, Top Gun: Maverick, The Goonies, Gremlins, Midnight Run, Scarface, Thelma & Louise, Scream, Gremlins II, Romeo + Juliet, Set It Off, The Firm, Exotica, Network, Superman, Magnolia, Saturday Night Fever, Thelma & Louise, Reality Bites, Boogie Nights, Nashville, The Pelican Brief, The Client, The Ice Storm, Dangerous Minds, archive readings of The Conversation & Enemy of the State + feedback/media/work updates including Encanto & more) + 3 TWIN PEAKS Character Series advances & Twin Peaks Conversations podcast


The Patreon episode intended for a couple months ago was released in two parts:



To represent the postmodern Gen X nineties, I easily chose Pulp Fiction - a film I'd surprisingly never really discussed on this site. Klute, on the other hand, was more a case of happenstance; I'd received the Criterion blu-ray as a gift a while ago but hadn't watched the film in a decade or more and remembered little about it. The film provides a fascinating snapshot of New York City right as the sixties/post-sixties cultural changes were taking hold alongside a phenomenal performance by Jane Fonda as a troubled, fairly independent, and deeply introspective call girl stalked by a mysterious figure. The other films I covered for the September podcast ended up being surprises - for me. I initially watched Red Dawn as something I'd mention briefly in capsule form but I ended up discussing it for much longer than that because there was so much to dig into with this Cold War relic (pairing its absurd premise with a tight, even thoughtful approach to the war film genre). Do the Right Thing and Hail Mary I did initially intend to be films in focus; after watching, I wondered if I'd have enough to say to justify that treatment but ended up elevating them from capsule status while pursuing various threads. My coverage of Hail Mary also serves as a tribute to the recently deceased Jean-Luc Godard - as will another film in focus in the November podcast.

In August, I began an approach that will take me through the end of the year: focusing on a different decade beginning with the eighties and moving in different directions. Each subsequent episode, including this one, would pair at least one full review and a bunch of capsules on films from a post-eighties decade with a review and handful of capsules on films from a pre-eighties decade (plus some more reviews/capsules finishing off the previous episode's decade). So for one of my more sprawling Patreon podcasts, I'm offering capsules on a couple dozen films from the seventies, eighties, nineties - plus the most films in focus I've ever provided in one episode. This one episode, however, is a two-parter separated by several weeks in which I waited to access some of the titles I wanted to discuss. As a result, this patron reward (intended for September) did not conclude until very late in October and I didn't get to sharing it on this site until now. (I was able to immediately catch up with a Halloween special podcast - you can listen to that one on Patreon; it will be cross-posted here soon.)


My advance character studies went up on time in September (I've already released October's round-up, which will be more officially cross-posted alongside the other reward intended for that month). For September, the trio of characters - ranked as always by screentime - included two familiar faces with new material in The Return and one entirely new entry on someone introduced in 2017. Patrons can now unlock each of these pieces...

(become a patron to discover their identities)


Finally, though I already cross-posted this conversation on its own, September saw John Thorne return to the Twin Peaks Conversations podcast; the longer part of our discussion - on his new book Ominous Whoosh and his further thoughts about Twin Peaks and especially the third season - is reserved for the $5/month tier.


Podcast Line-Ups for...

Holy Motors (LOST IN THE MOVIES podcast #22)



I am frequently fascinated by films which exist not only as a sustained piece of storytelling but also, at times, an anthology of vignettes. Holy Motors fits the latter description more than the former, with its..."story"?...of a man traveling through a series of immersive performances. He's not quite an actor in the conventional sense (there is no in-world stage or camera, or audience for that matter, and some of his actions - including violent outbursts - are presented as if they are happening in "reality"). Yet this is certainly, among other things, a film about acting. It can also be seen as a meditation on changes in cinema and a reflection of the twenty-first century gig economy, subjects I tease out more in this podcast. Not having seen any other Leos Carax films, I had nothing in his filmography to compare this to but if you are familiar with his work, please share your own thoughts on Holy Motors - I'd love to read them in upcoming feedback.

Incidentally, this was the last work I completed before officially beginning my new 2021-22 "Path through JOURNEY THROUGH TWIN PEAKS" schedule two days ago. You can read and/or watch more about that in the links below...


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You can also listen on Pinecast and Spotify
(and most places podcasts are found)

Montage: Come On Over, Veronique (video)



My Montage series, which resumed last week with a pairing of Federico Fellini and Tim Buckley, concludes with my first "one-film" montage. Usually I feature at least a couple movies in these videos, whether from a similar genre (Haxan and the Hellraiser series), director (Out 1 and Duelle; La Strada, Nights of Cabiria, and La Dolce Vita), or other association (Malcolm X and Opening Night to honor the Honorary Oscar winners). This time, however, the clips I cut to Amy Winehouse's "Valerie ('68 Version)" are all from The Double Life of Veronique. Yet the pattern persists because the film is, of course, a dual narrative following two characters named Veronica (or variations thereof) from Poland and France. In a way, this video provided an opportunity to restructure their stories, in time to the verses of the song, and to put a new visual spin on their run-ins.

I discussed The Double Life of Veronique in my September Patreon podcast, as part of my "Twin Peaks Cinema" series, comparing it to the use of doubles in Twin Peaks and Laura's story in Fire Walk With Me.

Update 3/17: the video is now available on Vimeo as well...

Daguerréotypes


An old woman, with a striking pinched face that smiles warmly when it isn't lost in a melancholy fog, wanders to the door of her husband's perfume shop and pauses. He comments, offscreen, that this often happens just after sunset: she always starts to leave without actually committing to leaving. She is not alone in that spirit, even if she dramatizes it more boldly than most. So much of this film about small business on a Parisian avenue, a documentary dominated by long stretches of purely observational technique, seems caught between the dimness of the world outside and the absorption of the world inside. When the film inquires about the shopkeepers' sleeping patterns, the petite bourgeois standard-bearers acknowledge that even their dreams are filled with work: the day-to-day routines and sturdy, functional environments of their workplaces are cocoons which could be - and perhaps occasionally are - suffocating, but are more often comforting. The films of Agnès Varda are always exploratory, frequently in a globe-trotting or at least nation-spanning manner, but Daguerréotypes' world is small and close at hand, in more ways than one.

September 2019 Patreon podcasts: LOST IN TWIN PEAKS #8 - Season 1 Finale and LOST IN THE MOVIES #59 - Twin Peaks cinema - The Double Life of Veronique (+ favorite films archive #12 - 2: Jammin' the Blues, Citizen Kane, It's a Wonderful Life, The Godfather Part II, The Passion of Joan of Arc, Gimme Shelter, Stille Nacht I-IV, The House is Black, Day of Wrath, Vertigo, Lawrence of Arabia & Twin Peaks Reflections: Trudy, Gerard, Eileen, the general store, the mountain top, Packard Saw Mill fire/Access Guide)


Which doubles do you think the Veronique/Weronika pair corresponds to most closely in Twin Peaks? Maddy and Laura? Dougie and Mr. C? Laura and Carrie? Another duo entirely? I share my own thoughts this month - including much broader, looser, and poetic links between Lynch's and Kieslowski's 1991 productions - but I'd love to hear yours.

The $5/month patrons reach the end of my first season rewatch this month as I discuss Mark Frost's shining solo moment in Twin Peaks (addressing his directorial debut on Hill Street Blues in the mix). And then take a deep breath, because on the first day of October we'll be diving right into this episode's eerie, mirror-image doppelganger as season two begins...



With The Double Life of Veronique anchoring my main podcast for September, I also reflect on a trio of characters, a couple locations, and a storyline linked to the first regular episode of Twin Peaks, using the Access Guide book as a correspondent to the Packard Saw Mill fire plot. And the "Opening the Archive" favorites series cracks my top ten, leaving just one for next month...



And I unlocked my Lost in Twin Peaks coverage of the pilot's follow-up for all patrons...



Podcast Line-Ups for:

European New Waves in the Sunday Matinee


In 2010, I launched a three-month series called "The Sunday Matinee" for Wonders in the Dark which covered several films each from four different European cinemas of the sixties: Italian, British, Czechoslovakian, and French. The essays are finally gathered here for convenient navigation.

Patreon update #18: Mark Frost's connection to Fire Walk With Me & film in focus: Holy Motors (+ Korean peace talks & more) and preview of Vivian/Phyllis character studies


With three weeks to go before my Return rewatch begins (or rather, two weeks and two days given the scheduled date), I'm halfway through the preparatory "Reflections" and done talking about the original series. On this episode I move onto Fire Walk With Me - the film I've discussed more than any other on Lost in the Movies, but with a new twist. I wanted to look at Mark Frost's troubled relationship with the movie, for which he received executive-producer credit without any creative involvement. Tracing Lynch's and Frost's collaboration through their pre-Twin Peaks work, I tease out their differing sensibilities and how these apply to the story of Laura Palmer. What is Frost drawn to in Fire Walk With Me, given its incorporation into season three, and how does his perspective on Laura's last night differ from Lynch's? I think this turned out to be a really interesting topic, and I hope you enjoy listening to it - and continue to share your own thoughts as well.

Speaking of which, I have some more listener feedback this week - one patron offers some fascinating insight into Red (including his connection to The King & I), while someone else shares their thoughts on my public episode: is Eyes Wide Shut a 90s film or a 90s period piece that just happens to be a 90s film? I also finally watched the film that everyone in 2012 was buzzing about; this is my first Leos Carax joint so I'm a bit of a stranger in his world - a distance I felt at times. I was intrigued by Holy Motors' anthology structure and compelled by the way it seemed to comment, perhaps unintentionally, on our present economic situation as well as my own podcast endeavors (that last bit I'm sure was intentional). I talk about the Korean peace efforts and share a very cogent thread on the subject from a reporter whose beat is the peninsula, and I wrap by closing off the #WatchlistScreenCaps period on my site. Next week's archive will delve into the Twin Peaks era of my blogging, a period that my "Twin Peaks Reflections" will dovetail with in the upcoming episode.

And yes, I do know Mark Frost didn't speak with Isaac Asimov on a podcast! I meant Mr. Robot, not I, Robot.





Line-up for Episode 18

INTRO

WEEKLY UPDATE/recent posts: Kingdom series, Buffy posts, interview w/ Cameron Cloutier

WEEKLY UPDATE/Patreon: 2nd Tier Biweekly Preview - Vivian & Phyllis

TWIN PEAKS REFLECTIONS: Mark Frost's connection to Fire Walk With Me

FILM IN FOCUS: Holy Motors

OTHER TOPICS: Korean peace talks

LISTENER FEEDBACK: Red in Twin Peaks s3, Eyes Wide Shut as a 90s period piece

OPENING THE ARCHIVE: "Classics & Completionism" (October 2013 - February 2014), this week's highlight: 90 Years of Cinema alternate Oscars

BECOME A PATRON

Patreon update #17: Twin Peaks season 2 & Séraphine (+ cartoon classics & more)


Originally I planned to review Before Sunrise this week but, after rewatching the film, I realized at the last minute that June 16 would make a more suitable date (at least for this site's cross-post; the episode will publish earlier in the week). A few months ago I had seen and reviewed Séraphine, a biopic about a French outsider artist from the early twentieth century so I was able to bump it up a week on the schedule without a problem. I also discuss the second season of Twin Peaks, attempting to view it both as the complicated, multi-part narrative it was and also as something with an overarching character of its own. This is a relatively quiet episode overall - there's no "Other Topics" section to speak of, and I've reserved most of the listener feedback for next week too. By the way, thank you to all patrons - I reached $100 this month! I hope you continue to enjoy the work I produce.





Line-up for Episode 17

INTRO

WEEKLY UPDATE/recent posts: Kingdom series

WEEKLY UPDATE/Patreon: eliminating 3rd Tier

WEEKLY UPDATE/work in progress: interview w/ Cameron Cloutier (Twin Peaks fan film about Annie & research into Golden State Killer)

TWIN PEAKS REFLECTIONS: Twin Peaks season 2

FILM IN FOCUS: Séraphine

OTHER TOPICS: A new approach

OPENING THE ARCHIVE: "The Watchlist Hits Toontown" (August - October 2013), this week's highlight: #WatchlistScreenCaps - Cartoon classic marathon

BECOME A PATRON

Patreon update #14: A Man Escaped (+ Top 15 Twin Peaks music, political podcasts, narrators of Citizen Kane & more) and preview of "Fire Walk With Me in season 3"


Several months ago, my patron and friend Max suggested a classic film about the French Resistance from a director who had experience in the Resistance himself. This month, he suggested another such film and so at the end of my discussion of A Man Escaped (based on the memoir of an escapee and informed by director Robert Bresson's own experience as a prisoner of war in Occupied France), I draw the comparison to Army of Shadows. I also incorporate the philosophy of Jansenism and reflect on Bresson's unique filmmaking style - especially when it comes to performance. Apologies for the strange, somewhat hollow sound of this segment; in retrospect I think the headphones/recorder I usually use wasn't properly plugged in and the phone itself was what was picking up my voice. Hopefully it's still listenable.

Elsewhere I take one last lap around the "random" "Twin Peaks Reflections" track before we move onto the rewatch buildup next week. Taking a cue from Twin Peaks Unwrapped and Scott Ryan of the Red Room Podcast I decided to list my 15 favorite Twin Peaks musical tracks, with samples from each selection accompanied by a few reflections. This should be a lot of fun for any Peaks fan to listen to - what our your own picks? I also offer my monthly round-up of podcast recommendations, with a lot of in-depth political discussions, and detail the variations of the different narrators/flashback sequences in Citizen Kane as part of my "Opening the Archive" segment.

Outside of the podcast, I lowered the biweekly preview reward to $5/month (which includes opening up previous previews) and offered my first one of April, an exploration of how the Fire Walk With Me concepts of "Electricity" and "The Blue Rose" mutate and evolve in the third season of Twin Peaks. And finally, does anyone have suggestions for a good third-tier reward? Right now, it's still in limbo so let me know what you think below.






Line-up for Episode 14

INTRO

WEEKLY UPDATE/recent posts: Mad Men viewing diary

WEEKLY UPDATE/Patreon: 2nd Tier Biweekly Preview - "Fire Walk With Me influences in season 3"

WEEKLY UPDATE/works in progress: character series - 30 runners-up including Pianist's true identity (Count Smokula), Twin Peaks Unwrapped pilot discussion, almost done w/ Mad Men season 1, High & Low visual tribute

FILM IN FOCUS: A Man Escaped

TWIN PEAKS REFLECTIONS: Rewatch reminder, Top 15 Twin Peaks music (+ bonus track)

OTHER TOPICS: Podcast recommendations

OPENING THE ARCHIVE: "Long Goodbyes" (November - December 2011), this week's highlight (Citizen Kane)

BECOME A PATRON

The Favorites - Masculin Feminin (#1)


The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. Masculin Feminin (1966/France/dir. Jean-Luc Godard) appeared at #1 on my original list. Most entries are only a couple paragraphs; this one, to conclude the series, is much longer.

What it is • It is autumn, and an important election is on the horizon. Against a background of looming violence and repression, there is also a sense of determined, restless energy amongst the nation's youth, a dissatisfaction with the status quo and desire for change that is finding expression in a reinvigorated left...accompanied by absorption in a pop culture that celebrates consumption and pleasure dissociated from any sense of deeper meaning. But Masculin Feminin is not a present-day documentary and these "children of Marx and Coca-Cola" are not millennials. The country is France and the year is 1965. The film focuses on five young people - two boys, three girls (in their late teens or early twenties, living independent lives, yet still free-spirited, and uncertain, enough to seem more like "boys and girls" rather than "men and women"). Though Paul (Jean-Pierre Leaud) and his buddy Robert Packard (Michel Debord) hew to a more orthodox Communist Party line than the fashionable Maoists and anarchists emerging at the forefront of the New Left, they are definitely plugged into the zeitgeist: joining in strikes from their factory jobs, petitioning the Brazilian government, and protesting the Vietnam War and the Gaullist government up for re-election. However, they appear to be rather clueless about the youth counterculture, Paul especially (watching him "sing" Bob Dylan's lyrics is one of the more amusing moments in the movie).

The Favorites - The Passion of Joan of Arc (#8)


The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. The Passion of Joan of Arc (1928/France/dir. Carl Theodor Dreyer) appeared at #8 on my original list.

What it is • Joan of Arc lived from 1412 to 1431, dying when she was still a teenager; her legendary accomplishments - turning back a British invasion of France, following the voices she heard in her head - were achieved nearly six centuries ago. In over a hundred years of cinema, there have been dozens of adaptations of her life (Wikipedia counts forty - including Bill & Ted's Excellent Adventure!). Nine countries have participated (all Western except for Japan - which aired a French opera). Acclaimed directors, including Georges Méliès, Cecil B. DeMille, Victor Fleming, Roberto Rossellini, Otto Preminger, Robert Bresson, Paul Verhoeven, Werner Herzog, Jacques Rivette, and Luc Besson, have offered their interpretations. Geraldine Ferrar, Michèle Morgan, Jean Seberg, Hedy Lamarr, Julie Harris, Geneviève Bujold, Janet Suzman, Sandrine Bonnaire, and Leelee Sobieski have all played Joan - Ingrid Bergman even played her twice, once for her husband (joining a tradition stretching from Méliès' wife Jeanne d'Alcy,  to Besson's wife Milla Jovovich, though d'Alcy didn't marry Melies for another thirty years and Jovovich divorced Besson between the film's production and release). With such a storied history - and I haven't even mentioned the excellent La Marveilleuse Vie de Jeanne d'Arc, which followed the film being reviewed by barely a year - you'd think there would be some difficulty in determining the Joan of Arc masterpiece. But there isn't. The Passion of Joan of Arc routinely appears near the very top of all-time great lists, Carl Theodor Dreyer is widely considered the greatest filmmaker to tackle the topic, and Falconetti is praised as the most superb Joan. That's an understatement, actually; many would rank her performance as the greatest in the entire history of cinema. The Passion of Joan of Arc, which focuses exclusively on the trial and execution of Joan, has a tumultuous history. It was controversial when it was shot - territorial French critics despised the idea of a Dane reproducing their saint - and it was frequently banned and censored. Multiple, corrupted versions existed for decades until the original cut was discovered in the early eighties in, of all places, a Norwegian mental institution. Rather differently from Dreyer's sound films, Passion (considered by many the apex of silent cinema) consists almost entirely of close-ups of actor's faces, a riveting, hypnotic symphony of actors' expressions exemplifying the art of intercutting reaction shots.

Why I like it •

The Favorites - My Night at Maud's (#23)


The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. My Night at Maud's (1969/France/dir. Eric Rohmer) appeared at #23 on my original list.

What it is • In the ancient, quiet town of Clermont-Ferrand, Jean-Louis (Jean-Louis Trintagnent), a Catholic convert, meets up with an old friend, Vidal (Antoine Vitez), a Marxist. Contesting the claims of faith, they are particularly captivated by the dilemma of Pascal's wager: the idea that one should choose the less likely but more rewarding prospect. Shortly afterward, Vidal introduces Jean-Louis to a charming divorcee, Maud (Francoise Fabian). The long conversation which unfolds in her apartment, as she invites Jean-Louis to spend the night - platonically or otherwise - is at once a protracted intellectual version of "Baby, It's Cold Outside" with the gender roles reversed (as I think CriterionCast pointed out) and a test of the philosophical question Jean-Louis and Vidal debated earlier in the film. Jean-Louis has already committed himself, mentally anyway, to Francoise (Marie-Christine Barrault), a pretty blonde whom he has never met but whom he fell in love with while observing her at Mass. Is she the one he is wagering everything on, sacrificing short-term happiness with Maud for an idealized marriage with her? Or is the other way around; is he going for the safe bet with this quiet, good Catholic girl (or so he believes) and missing out on a riskier but possibly more deeply enriching relationship with Maud? The film holds many ambiguities and conceals several tricks up its sleeve, but despite the cleverness of its overall shape and its fearlessness in articulating every concern (My Night at Maud's has long been synonymous with "talky film") this is also very much an exercise in atmosphere. Like all of Rohmer's Six Moral Tales - this was titled as the third, but released as the fourth - the film is gorgeously shot (in this case and several others by Nestor Almendros) and makes beautiful use of its evocative location. The Moral Tales may be aggressively verbal, but they are also luminously visual.

Why I like it •

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