It has more jazz in it than any other fiction film ever made, and it is probably better jazz it makes its best points with music, not words. It is about a few months in a man's life, and about his music. That seemingly very slight gesture - a fan trying to help the man he admires - is the heart of 'Round Midnight.' This is not a heavily plotted movie, one of those musical biographies weighted down with omens and light on music. ' Round Midnight': Back in 1986, Roger gave 4 stars to this Tavernier classic. And it was harder for the bottom people.' 3. And working there meant that you could become a collaborator, or you could avoid collaborating. But I did a film which is about work, about the people who tried to do films during the Occupation. I was the press agent of Jean Luc Godard I worked on films of Claude Chabrol, of Agnes Varda, of Jacques Demy, of Jacques Rivette. I've been a great defender of the New Wave. 'They thought that by telling the story of the people who tried to be brave in 1942, I was attacking the New Wave,' Tavernier said. 'Tavernier Looks Beyond Usual Suspects': In 2003, Roger interviewed the director about his film 'Safe Conduct.' The things they lost were brought back by the generation after the New Wave, who took everything that was good about it-freedom with the camera, live sound, shooting on location-and brought back shooting in the provinces, like Marcel Pagnol was doing in the ‘30s. The settings in the New Wave films are very chic, except maybe Agnes Varda and Alain Resnais, who were in the movement but not really New Wave. They did exist in Becker and Duvivier films. At the same time, the working-class do not exist in their films.

But even Rene Clement was shooting in the streets of London four years before the New Wave with “Monsieur Ripois” and had done that in 1944 with “La Bataille du Rail.” It’s very difficult to say those people were the first, but at least they opened windows. In the mid ‘50s, the French cinema was stiff, heavily written and studio bound. They were doing a certain kind of film but they were forgetting things that were dealt with before them. The only films dealing with abortion from that period were made by Claude Autant-Lara. They were not interested by everything about women. They were not interested in history, period films or the politics of the time. They brought things, but there were also subjects they never dealt with, contrary to the directors before then. Michael Powell was a revolution in himself. Bresson was incredibly revolutionary. The New Wave, in a way, was revolutionary because it brought the cinema of the first person, but the British had done that first: Karel Reisz, Lindsay Anderson. Renoir and Duvivier, in the ‘30s, were revolutionaries.

'The Passenger: Bertrand Tavernier on 'My Journey Through French Cinema': Our Steve Erickson interviewed Tavernier about his 2017 documentary.Įvery movement, when they are doing great films, are revolutionaries. This special edition of Thumbnails celebrates Bertrand Tavernier. We provide links to the original sources for you to read in their entirety. Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting.

2011 movie son of a clockmaker