- Early Hitchcock films to find new audience
A nationwide Alfred Hitchcock retrospective featuring nine of the celebrated director's rare silent films, made at the start of his career, will be staged in 2012 in a series of public screenings.The often forgotten collection... 全国アルフレッドヒッチコックの回顧展は、9つの有名な監督の貴重な無声映画、彼のキャリアの開始時に行われた作品、2012年に公開screenings.The一連の多くのコレクションを忘れて開催される...
- Michael Tomasky: Help for a friend in need
Comment number 56 on the Friday quiz thread comes from rainbowmerlin, who politely asks:this was very useful as it reminded me how little I know about many aspects of cinema. I was only recently thinking of giving myself an education in it - any suggestions for 'classic films one should watch', is there a good website to help educate yourself in cinema? (I'm not bad from the 70s onwards, though still with many gaps, but very poor before that, apart from a few classics).Let's all pitch in, shall we? My advice, RM, is that if you want to proceed methodically, you need to do it by some combination of genre and director. Start with screwball comedies, still many of the greatest movies ever made. You'll find lots of Howard Hawks there, and some Preston Sturges. But there some lesser-known directors who made great ones, like Gregory La Cava, director of My Man Godfrey, one of the best movies of all time.I guess start with the biggies of the big directors: Capra, Wilder, William Wyler, Hitchcock and so on. From the sceptred isle, don't forget those nutty Korda brothers. Amazing stuff. If you live in a city, there ought to be one snobby video store for culturally elite Brie munchers such as ourselves that arrange films by director.Folks? What are your choices?United StatesMichael Tomaskyguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds
金曜日のクイズのスレッドでコメント数は56人丁寧に尋ねるrainbowmerlin、から来ている：それはどのように少し私は映画について多くの側面を知っていることを思い出しましたとして、これは非常に便利でした
- Claude Chabrol anatomised the French middle class with a twist of the scalpel
Peter Bradshaw on the French New Wave figure who out-Hitchcocked Hitchcock with his hypocrisy-exposing suspense thrillersFor 30 years after the death of Alfred Hitchcock, the French film-maker Claude Chabrol near single-handedly kept alive a genre that without him might have become a museum piece, like the musical or the western: the icily elegant suspense thriller. The existence of these tense dramas depended largely on a strict set of social codes, a strong sense of order and a buttoned-up bourgeois society within which the idea of crime is unthinkable.Yet the genre's dramatic charge depends not merely on the chill of transgression, but on the realisation that with sufficient ruthlessness, or ingenuity, or social privilege, some crime or psychopathic outrage might be concealed and fester, unseen, for ever.Perhaps it is telling that Hitchcock was an Englishman; Chabrol found something in French society that was highly congenial to the suspense genre, but one of his most well-regarded movies, La Cérémonie (1995), was based on A Judgment In Stone, the 1977 thriller by British author Ruth Rendell.In Chabrol's movie, a housekeeper employed by a wealthy woman is ashamed of her illiteracy, and her friendship with a local woman, played by Isabelle Huppert, propels her towards obsession and violence. The film deals with themes of class, resentment and social tension. Chabrol however, unlike many New Wave contemporaries, deploys these themes in the service of old-fashioned entertainment – albeit with a very sharp edge.For almost 50 years, Chabrol kept up a fiercely disciplined output, directing about one film a year – a testament to the support the French film industry gives to its established masters, and to the remarkable energy and longevity of the New Wave generation of whi アウトHitchcockedヒッチコックさんは、彼の偽善はアルフレッドヒッチコック、単独の近くにフランス映画メーカークロードシャブロルの死の30年後のサスペンスthrillersForを公開するフランスの新しい。図にして、Peter Bradshawさんは生きているジャンルを保った彼になる可能性がありますなく、その冷たくエレガントなサスペンススリラー：や西洋楽器のような美術館の作品
- Claude Chabrol: a career in clips
The French New Wave veteran has died aged 80. We look back over his career with a selection of clips from his filmsAlong with François Truffaut and Jean-Luc Godard, Claude Chabrol ushered in the New Wave that washed over French cinema at the end of the 1950s. Like them a critic turned filmmaker, Chabrol shared their appreciation of classical genre form – to some, he appreciated it too much, exploring rather than subverting its strictures. But his prodigious output and technical mastery assure his place as one of the great figures of cinema's first century.Born in 1930 to a middle-class family, Chabrol studied law before joining Godard, Truffaut, Eric Rohmer and Jacques Rivette in making Cahiers du Cinema, the epicentre of auteurist celebration of 'low' Hollywood. In 1957, he and Rohmer published their influential study of Hitchcock – a director who would have an enduring influence on Chabrol's work behind the camera – and, the following year, an inheritance received by his wife allowed him to create his first picture.Arguably the first New Wave feature, Le Beau Serge takes a pared-down rather than radically experimental approach, plainly, sometimes roughly telling an often shocking story of a French provincial life suffused with despair. Jean-Claude Brialy plays François, returning from Paris to a hometown characterised by regret, anger, even depravity – yet lightened by the promise of redemption and presences such as Bernadette Lafont's Marie, seen in this (unsubtitled) clip getting to know François.Films like Les Cousins (1959), Les Bonnes Femmes (1960) and L'Oeil du Malin (1962) developed Chabrol's interests in youth, the city vs the provinces and modern morality, as well as his often ironic, detached style, but the mid-1960s saw him turn to more overtly commercial p フランスの新しい波のベテランは80歳で死去しています
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