Lost in the Movies: place de la republique
Showing posts with label place de la republique. Show all posts
Showing posts with label place de la republique. Show all posts

The Favorites - Place de la Republique (#88)


The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. Place de la Republique (1974/France/dir. Louis Malle) appeared at #88 on my original list.

What it is • We open with an old man wandering slowly through a public area in Paris, the Place de la Republique where all the "action" of the film will take place. As the camera and microphone follow closely behind, his expression registers no recognition - finally, director Louis Malle asks if he knew they were filming him. Nonchalantly, only vaguely bemused, he shrugs and shakes his head...then goes on about his business. It's a perfect little opening for two reasons: because the rest of the documentary will continue this easygoing, playful sense of engagement with it subjects, but also because this sets up an ironic counterpoint to the rest of Republique. For the next ninety minutes, all of the everday, real-life passerbys Louis Malle follows or chats up will be hyper-aware of the camera and microphone, often becoming quite conscious performers. We meet old pensioners, young shopgirls, worn-out immigrants, middle-aged philanderers, and a chic wig saleswoman who defly turns the tables on director Malle. "I know who you are," she slyly remarks, before wishing him a happy 40th birthday.

Why I like it

Welcome to the Arthouse 1972 - 1974 • "32 Days of Movies" Day 21


The twenty-first chapter in "32 Days of Movies", an audiovisual tour through 366 films
(2015 update: included Vimeo embed after the jump & 2023 update: new version w/ different, more period-accurate closing song)



View "Chapter 21: Welcome to the Arthouse" (outdated as of 2023, see bottom of post)


Welcome to the Arthouse

Artistic expression, rather than pleasing a wide audience, seems to be the guiding spirit behind most of today's selections, although increasingly the two could go together. There are three genre pictures (a German sci-fi, a British horror, and an American gangster movie), yet these too wear their "artsy" ambitions on their sleeves. This was a period when attendance of "art houses" - those theaters devoted to playing foreign films, serious dramas, or eccentric comedies - thrived, and when even mainstream Hollywood movies were darker, more complex, more aesthetically sophisticated than they had been ten years earlier. It was a golden age for American film, but we'll see more of that tomorrow; today, the offerings are almost exclusively European (with an exception each from the U.S. and India).

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