UWP Lecturers Newsletter French Films In L.A.

John Ganim john.ganim at ucr.edu
Thu Jan 15 15:40:57 PST 2009 

>Fr
>>From: "French Film in L.A." 
>><<mailto:frenchfilminla at consulfrance-losangeles.org>frenchfilminla at consulfrance-losangeles.org>
>>Date: January 14, 2009 4:36:49 PM PST
>>To: <@consulfrance-losangeles.org;>
>>Subject: Newsletter French Films In L.A.
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>>[]
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>>PROUDLY SUPPORTS
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>>Special Events
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>>THE AERO THEATRE  PRESENTS
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>>CONFIDENTIALLY YOURS
>>A WEEKEND WITH FRANÇOIS TRUFFAUT
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>>January 16 to 21, 2009
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>>At the
>><http://www.americancinematheque.com/Aero/aeromastercalendar.htm>
>>[]
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>>
>>1328 Montana Avenue,
>>Santa Monica, CA 90403
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>>
>>Few directors exhibit a passion for cinema as 
>>intense and infectious as François Truffaut, 
>>who once said that any great film must express 
>>either the joy of making cinema or the agony of 
>>making cinema. His own work was filled with joy 
>>and enthusiasm, even when exploring the darkest corners of the human heart.
>>
>>Truffaut began, like his contemporaries Godard, 
>>Chabrol, Rohmer and Rivette, as a critic for 
>>the legendary French journal Cahiers du Cinema, 
>>where he feasted on film as a young man. 
>>Eventually he put his theories into practice, and his debut feature,
>>
>>THE 400 BLOWS, was a sensation upon its release in 1959;
>>along with Godard’s BREATHLESS, it announced a 
>>new kind of cinema, the French New Wave.
>>While Godard would become progressively more 
>>political and experimental, Truffaut spent his 
>>career veering from one kind of movie to 
>>another: from the deeply personal autobiography 
>>of the Antoine Doinel films to genre exercises 
>>like CONFIDENTIALLY YOURS and THE WOMAN NEXT 
>>DOOR. He also gave the international cinema one 
>>of its greatest masterpieces (JULES AND JIM) 
>>and influenced everyone from Spielberg and 
>>Scorsese to Paul Mazursky and Blake Edwards.
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>>Truffaut himself was profoundly influenced by 
>>Alfred Hitchcock, whom he vigorously defended 
>>in print, eventually publishing a landmark 
>>interview book with the master. Although 
>>Truffaut’s output is as varied as that of 
>>Howard Hawks or Michael Curtiz, his films are 
>>all linked by a common thread: the director’s deeply felt humanism.
>>Like his hero Jean Renoir, he believed that 
>>every man, no matter how superficially evil, had his reasons.
>>Yet the lessons of Hitchcock are visible throughout Truffaut's oeuvre
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>>Critic Cyril Neyrat explains, "Truffaut learned 
>>from his master the secret of the uncanny: 
>>expanding or contracting time, centering on 
>>faces or objects, adding density to his images 
>>through a montage of characters looking that 
>>infuses everyday reality with a morbid anxiety."
>>(François Truffaut, Cahiers du Cinema/Le Monde: 2008)
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>>January 16 – 7:30 PM
>>At the Aero Theatre
>>Double Feature: New 35mm Print
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>>[]
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>>[]
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>>JULES AND JIM,
>>1962, Janus Films, 105 min.
>>With Jeanne Moreau, Oskar Werner.
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>>In one of the greatest films of the French New 
>>Wave, Truffaut elevates the materials of 
>>old-fashioned melodrama into high art: Two 
>>friends are forced to fight on different sides 
>>during World War I and fall in love with the 
>>same woman during peacetime. The film follows 
>>the shifting relationships and affections among 
>>the three characters over the course of many 
>>years, creating a powerful emotional experience that is both intimate and epic.
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>>TWO ENGLISH GIRLS
>>(LES DEUX ANGLAISES ET LE CONTINENT)
>>1971, Janus Films, 108 min.
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>>
>>In a sort of reverse-gender JULES AND JIM, a 
>>young writer (perennial Truffaut surrogate 
>>Jean-Pierre Léaud) finds himself in a long-term 
>>affair with two sisters. Truffaut returns to 
>>his earlier film’s themes with an older, more 
>>melancholy eye; youthful enthusiasm has given 
>>way to mature resignation, and the 
>>sophistication of Truffaut’s ideas is matched 
>>by his most visually stunning images (courtesy 
>>of legendary cinematographer Nestor Almendros).
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>>January 17 – 7:30 PM
>>At the Aero Theatre
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>>[]
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>>[]
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>>THE 400 BLOWS
>>(LES QUATRE CENTS COUPS)
>>1959, Janus Films, 99min
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>>Jean-Pierre Léaud plays a young boy struggling 
>>against the constrictions of bourgeois 
>>conformity in this deeply personal masterpiece. 
>>Both a coming-of-age classic and the greatest 
>>feature debut since Welles’ CITIZEN KANE 18 
>>years earlier, this, along with Godard’s 
>>BREATHLESS, is one of the films that announced 
>>the arrival of the French New Wave to an international cinema audience.
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>>"ANTOINE AND COLLETTE"
>>1962, Janus Films, 32 min.
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>>In this second appearance of Truffaut’s alter 
>>ego, Antoine Doinel, Antoine (Jean-Pierre 
>>Léaud) is now a teenager on the verge of his 
>>first love affair -- an affair that will begin 
>>his lifetime of restless searching for romance. 
>>Originally part of the omnibus film LOVE AT 
>>TWENTY, this short more than stands on its own 
>>and serves as an essential chapter in the Doinel saga.
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>>STOLEN KISSES (BAISERS VOLÉS) 1968, Janus Films, 90 min. .
>>With Delphine Seyrig
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>>In the third Antoine Doinel film, Antoine 
>>(Jean-Pierre Léaud) returns to Paris after a 
>>dishonorable discharge from the army. There, he 
>>finds himself trying a series of ridiculous 
>>jobs (including private detective) as he falls 
>>hopelessly in love. Lyrical and nostalgic, this 
>>is one of Truffaut’s most romantic films, which 
>>is really saying something. With Delphine Seyrig.
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>>January 18 – 7:30 PM
>>At the Aero Theatre
>>Double Feature: New 35mm Print!
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>>[]
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>>[]
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>>SHOOT THE PIANO PLAYER
>>(TIREZ SUR LE PIANISTE)
>>1960, Janus Films, 92 min.
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>>
>>François Truffaut once said that every 
>>filmmaker’s first movie is a mad rush of ideas, 
>>while every second movie is an exercise in 
>>style. This, his own second movie, is both: a 
>>stylistic tour de force filled with innovative 
>>visual ideas, but also a longing, bittersweet 
>>character study of uncommon depth and 
>>resonance. Charles Aznavour is a washed-up 
>>concert pianist unable to return to his former 
>>glory due to connections with gangsters and 
>>other nefarious types; Marie Dubois is the 
>>woman who loves him. A long confession scene is 
>>Truffaut’s tribute to Ingrid Bergman’s 10 
>>minute confession in Hitchcock’s UNDER 
>>CAPRICORN. Adapted from the great novel Down 
>>There by David Goodis (who also wrote DARK PASSAGE).
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>>THE LAST METRO
>>(LE DERNIER METRO),
>>1980, Janus Films, 131 min.
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>>  During the German occupation of Paris, a 
>> theater company struggles to produce a new 
>> play while its director is forced to hide in 
>> the basement, leaving his wife (Catherine 
>> Deneuve) to carry on an affair with the new 
>> leading man (Gerard Depardieu). This 
>> meditation on the ultimate powerlessness of 
>> the artist is surprisingly charming given its 
>> heavy subject matter, and Deneuve is as elegant and compelling as ever.
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>>January 21 – 7:30 PM
>>At the Aero Theatre
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>>[]
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>>CONFIDENTIALLY YOURS
>>(VIVEMENT DIMANCHE!),
>>1983, Janus Films, 110 min.
>>
>>In François Truffaut’s delightfully 
>>entertaining tribute to Hitchcock, a 
>>businessman (Jean-Louis Trintignant) is wrongly 
>>accused of murder, and while he goes on the lam 
>>his secretary (Fanny Ardant) tries to find the 
>>real killer. Gorgeous black-and-white 
>>photography by Nestor Almendros and a witty 
>>screenplay (by Truffaut and frequent 
>>collaborators Suzanne Schiffman and Jean Aurel, 
>>adapting hardboiled American writer Charles 
>>Williams’ The Long Saturday Night) make this 
>>one of the director’s most enjoyable efforts.
>>
>>Film critic Kevin Thomas
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>>will introduce the screening.
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>>Special Thanks: Bill Krohn and Sarah Finklea/JANUS FILMS
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>><http://www.rialtopictures.com/made.html>
>>[]
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>>PRESENTS
>>
>>Jean Luc Godard’s
>>MADE IN USA
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>>[]
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>>Jean Luc Godard, 1966, Crime/Mystery – 90 min
>>New 35 mm film  - In French, fully subtitled in English
>>
>>
>>Opens January 16, 2009
>>
>>at
>>[]
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>>11272 Santa Monica Boulevard,
>>West Los Angeles, CA 90025
>>( just west of the 405 Freeway )
>>
>>
>>Writer/director Jean-Luc Godard's mod film 
>>noir, first intended as a reworking of Raymond 
>>Chandler's classic The Big Sleep, but 
>>essentially based on Donald Westlake's novel 
>>The Jugger, is a Pop Art mixture of loving 
>>homage to the films of Nicholas Ray and Samuel 
>>Fuller and the realism favored by Godard.
>>It is one of the filmmaker's pivotal features, 
>>and the last he made with his wife/star Anna 
>>Karina (Alphaville, Band of Outsiders, Pierrot 
>>le fou), who plays a young woman caught up in a 
>>mysterious, convoluted Cold War conspiracy. Due 
>>to legal difficulties, Made in U.S.A. never 
>>received an 'official' U.S release, but can now 
>>be seen in a new 35mm widescreen print (from 
>>the original camera negative) with a new translation and new subtitles.
>>
>>Co-starring Jean-Pierre Léaud, László Szabó and 
>>Marianne Faithfull as herself, singing "As Tears Go By."
>>Cinematography by the legendary Raoul Coutard.
>>
>><http://www.rialtopictures.com/made_trailer.html>View Trailer
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>>Program information: 310-281-8223 or on 
>><http://www.landmarktheatres.com/>landmarktheatres.com
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>>The Los Angeles Film & TV Office
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>>French Embassy in the US
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>>10390 Santa Monica Blvd. suite 410, Los Angeles, CA 90025
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>>W# 310 235 3231
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>>-- Before Printing Please Think About The Environment --
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