french films 1960s

Transferring the action from the American Deep South to French West Africa in the late ’30s, Tavernier elicits a characteristically colourful performance from Noiret as the manic but outwardly easy-going.

It’s not the play that moves him, but the lead actress, Clara (Alvaro). Directors Donald Cammell and Nicolas Roeg. Truffaut’s film won the Oscar for best foreign film – the second of four French films to do so that decade. Handsomely shot on location in Brazil, with Belmondo as the cheerfully indestructible hero who cliffhangs, climbs buildings, imitates Tarzan, parachutes almost into the jaws of a crocodile, and does his best to cope with the enchantingly unpredictable Dorléac (late lamented sister of Catherine Deneuve). FD, Bambi Ballard’s 2000 restoration of cinema’s supreme, grandiloquent epic (63 mins longer than the version premiered by Kevin Brownlow in 1979, tinted and with an extended three-screen climax) is the closest we’re ever likely to get to Gance’s original. More than half a century after the release of this influential musical film, we turn back the clock to find 10 more films that let in the light on swinging London. From nostalgic and subversive locals who capture the real essence of life in this miraculous city to wide-eyed foreign visitors riffing about what it is that makes it such a magnet for outsiders, these are the absolute best songs about Paris according to us. As evocatively as it’s ever been done, Day for Night captures the chaos of movie production, the work of a director as problem solver and the delicate balancing of egos on set. Charles Vanel steals the show late on as a shambling, pre-Columbo detective, but the real star is Clouzot as director who maintains a sense of dread and mystery until the end by taking his shaggy-dog story deadly seriously.

The cycle of films that Claude Chabrol made with his then wife Stéphane Audran in the late 1960s and early 70s are some of the most unsettling and ambiguous thrillers you’ll ever see. It deals with the possibilities and limitations of imaginative reconstruction, centered around a strange dialogue of contradictions.

Ronet gives a remarkable, quietly assured performance as the alcoholic who, upon leaving a clinic, visits old friends in the hope that they will provide him with a reason to live. ‘Hold on, pretty butterfly!’ says Cléo (Corinne Marchand), a fretful and fame-occupied singer, to herself as she prepares to roam the city for two hours while awaiting a possibly momentous doctor’s verdict. [8], Writing for Combat magazine in 1960, Pierre Marcabru observed: "It seems that, if we had footage of Godard shooting his film, we would discover a sort of accord between the dramatized world in front of the camera (Belmondo and Seberg playing a scene) and the working world behind it (Godard and Raoul Coutard shooting the scene), as if the wall between the real and projected worlds had been torn down. A dutiful trip to the theatre is a revelation.

Directors Donald Cammell and Nicolas Roeg delivered to Warner Bros not at all what they had asked for. The result is not so much a film as an entire artistic vision crammed into 89 of the busiest and most beautiful minutes of celluloid ever shot. CPE, Released the same year as Godard’s ‘Breathless’ (1959) and filmed on the same sun-dappled Parisian streets, Bresson’s mid-career tale of the mysterious operation of grace and redemption on the fate of a young thief is considered by many to be his masterpiece. The obligatory cross-references are still there (blood in the sink; the exactly appropriate final use of simultaneous backtrack and forward zoom adapted from Vertigo), but they’re no longer there to legitimise a vision now mature. Written and directed by the French-Tunisian Abdellatif Kechiche, it is the richest film of his career. CA, ‘Our sexual desire has to be seen as the product of centuries of repressive and emasculating Catholicism... it is always coloured by the sweet secret sense of sin,’ mused Buñuel in his autobiography ‘My Last Breath’. But in another, this is his most personal work in years, less important for its return to narrative (the story of two women and a man joined in almost arbitrary ways) than for its chilled sense of autobiography – Dutronc plays an egotistical, washed-out video film-maker called ‘Godard’. And one might even conclude that Tati is a closet misanthrope.

Just out of jail, afraid he can’t cut it in the underworld anymore, involved in an act of revenge that leaves him with a nasty taste in his mouth, Reggiani finds Crohem lurking in ambush when he takes on his next job. ‘Les Diaboliques’ (1955) is the perfect psychosexual thriller, and this earlier effort is Hitch’s bomb-under-the-table suspense formula burnished to an expert sheen. A critical and popular hit in France, ‘Le Goût des autres’. Roche’s autobiographical story of a Frenchman, Jim (Henri Serre) and a German, Jules (Oskar Werner) whose friendship survives the First World War and their adoration of the same woman, Catherine (Jeanne Moreau) becomes, in Truffaut’s hands, a paean to passion and an ineffably elegant classic.

It stars Jean-Paul Belmondo as a wandering criminal named Michel, and Jean Seberg as his American girlfriend Patricia.

Elsewhere, a country girl gets turned on by the religious artefacts in a room where she’s been grounded, Lucrezia Borgia (Florence Bellamy) screws various relatives in Renaissance Italy, and Elisabeth Bathory (Paloma Picasso) orgies with local girls before killing them and bathing in their blood. But Ripley’s growing infatuation with his wealthy friend turns murderous, and Greenleaf’s girlfriend, Marge (Marie Laforêt), is one of many caught up in a tale of deceit and desperation.
The camera lavishes black-and-white love on Paris, strolling up the Champs-Elysées, edging across café terraces, sweeping over the rooftop skyline, Mozart mixing with cool jazz riffs in the night air. Most of them are still worth watching Michel Hazanavicius and actor Jean Dujardin are well known in France for their James Bond spoofs, the ‘OSS 117’ films. It saw a surge in formal experimentation, freedom of expression, colour, and comedy. Living in Auvers-sur-Oise with his sensitive and knowledgeable patron Gachet (Sety), van Gogh (Dutronc) works quietly and steadily, meanwhile flirting with Gachet’s precocious daughter Marguerite (London). The cycle of films that Claude Chabrol made with his then wife Stéphane Audran in the late 1960s and early 70s are some of the most unsettling and ambiguous thrillers you’ll ever see. The social-realist ‘kitchen sink’ drama predominated in the late 50s and early 60s – films like Look Back in Anger (1959) and Room at the Top (1959) about ordinary people in the north of England and the hard grind of working-class life. The collector of the title is a delectable nymphet, footloose in St. Tropez, who makes a principle of sleeping with a different man every night until two friends, declining to become specimens, decide to take her moral well-being in hand. Newly released on Blu-ray and DVD, her debut feature, Peppermint Soda, is ripe for rediscovery, a coming-of-age movie that offers a welcome girl-centred answer to classic French boyhood pics such as Les Quatre Cent Coups (1959) and L’Enfance-nue. Romy Schneider is all feline elegance and sphinx-like intelligence as the girlfriend of brooding wastrel Alain Delon. GA, In a French provincial town, Henri Menard (Bacri) runs the old family restaurant where the clan convenes every Friday night. In the 18th century game which Rohmer transposes to a contemporary setting, this pair can be seen as intellect trying to dominate instinct, but only succeeding in rousing unwanted passions. Although Ophüls had to drop a fourth story intended to contrast pleasure and death, these three on old age, purity and marriage are shot with a supreme elegance and sympathy, and the central tale in particular luxuriates in the Normandy countryside. Paul’s self-absorbed narrative branches out into a network of polyphonic plot lines, introducing a cast of neurotic and touching characters – all seeking, finding or avoiding each other in ’90s Paris. Once on board, Juliette is caught between her uncertain love for Jean and her desire to see a world beyond the restrictive confines of the boat.
DJ, Eric Rohmer’s 1969 work made his name outside of France and preceded enduring works like ‘Pauline at the Beach’ and ‘The Green Ray’.

The seedy is the everyday. Then, Paris, 1960s. This film is part of a series I'm posting on vintage fetish films, not porn. Vincent, François, Paul et les Autres (1974). Much about ‘Enter the Void’ is rotten.

Their erotically charged St. Tropez sojourn is interrupted by the arrival of flamboyantly smug Maurice Ronet with teenage jail-bait daughter Jane Birkin in tow. Delon – impossibly beautiful, impossible to read, cold, cool – steals the film here, and the most powerful scenes are on Ripley’s yacht. Despite her domestic woes, she remains extraordinarily level-headed – at least until the full-blown psychedelia of the finale. It has been accused of valuing style over substance, but place the film in its historical context and its true intent is revealed: in the wake of unimaginable horror, this kind of fantasy is still achievable, and perhaps more important than ever. Shot in colour that looks almost like monochrome, recorded in five-track stereo sound with scarcely a word of speech (the mysterious language of objects echoes louder than words), this jewel of Tati’s career is a hallucinatory comic vision on the verge of abstraction. Diana’s untrustworthy narration of the story of her life – executed with exceptional subtlety by Christie, who deservedly won an Academy Award for her performance – counterpoints the reproduction of her face in photographs for magazines. a "louse", "scumbag", or "bitch". Insane gadgets slam and roar, high heels click like metronomes, and even a depressed dachshund in a tartan overcoat obligingly submits to Tati’s meticulous direction. The entire film is less moulded in light than carved in stone: it’s magisterial cinema, and almost unbearably moving. Dreyer encloses this stark, infinitely expressive face with other characters and sets that are equally devoid of decoration and equally direct in conveying both material and metaphysical essences.

Beautiful, tranquil, but increasingly menacing clues to a love affair with a girl he may or may not have killed. The ingredients are fairly simple in this star-powered psychological thriller which has remained underexposed outside of France. DJ, Throughout his professional life, France’s Henri-Georges Clouzot suffered comparisons to Alfred Hitchcock – the former's critical reputation languished for it, and he took it hard.

"[citation needed], Breathless was processed and edited at GTC Labs in Joinville with lead editor Cécile Decugis and assistant editor Lila Herman. The beauty of monochrome ’50s Paris helps, but the magic is in observing the thrill even a maltreated child will snatch from a book, a film or a day truanting at a funfair, through the gaze of a former critic whose elation at getting his hands on a camera burbles through every shot. Perhaps strangest of all is that the protagonist’s girlfriend seems for most of the film to be the only young female in town, but that’s a very minor criticism when compared to writer/director Dumont’s tough, confident handling of mood, milieu, pace, performance and theme. It’s a gentle call to arms aimed at modern cinema. TM, An actor’s director, Claude Sautet crafts films with an extraordinary attention to human detail, privileging dialogue and character development over plot turns or technical experimentation. It deals only with the final stages of Joan’s trial and her execution and is composed almost exclusively of close-ups: hands, robes, crosses, metal bars, and (most of all) faces. A small gem, polished to perfection by an unassuming professional. Even in the butchered version distributed in Britain (dubbed and cut to 102 minutes). Telling a true story, Becker maintains a low-key approach, courting reality, avoiding music in favour of natural sound, constantly stressing the sheer physicality (warders’ hands laconically slicing foodstuffs in search of hidden files, prisoners’ hands feverishly hacking at the unrelenting stone).

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