Cinema Yesterday and Today by Rene Clair

By Rene Clair

This can be the 1st English translation of this groundbreaking paintings, first released in France in 1970. the writer offers a sweeping imaginative and prescient of the cinema established upon reports of French movie comedy performs written over a span of many years, with unifying notes and imaginary discussion with himself throughout time. blending own stories with serious conception and aesthetics, Clair discusses the making of works from the start of sound via 1970. Edited and with advent via R.C. Dale.

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Louis Aragon (born 1897) , poet and novelist, one of the founders of the Surrealist movement. Pierre Albert-Birot, writer. Jean Cocteau (1889-1963), poet, novelist, and film-maker. Fernand Leger (1881-1955), painter and film experimenter. Pierre Mac Orlan (1882-1970), writer. Leon Pierre-Quint, writer, author of the first essay devoted to Marcel Proust. Philippe Soupault (born 1897), writer, poet, one of the founders of the Surrealist movement. Paul Valery (1871-1945), writer and poet. 20 CINEMA YESTERDAY AC'iD TODA Y Caligari is the first step toward a more serious error, which consists in photographing eccentric sets in a flat manner instead of producing surprises wi th the camera.

But it does not have the value of The Phantom Carriage or The Oiulato and His Wiie. Jenny Hasselquist is the main character in this film. It is impossible to forget her broad forehead, her determined gaze, her rigidity, her criminal obstinacy, her brusque starts like those of a threatened animal. No facile effect, no unjustifiable expres­ sion . . The Swedes-honesty of the image. 1950. The 'Treasure of Arne, The Outlaxo and His Wife and The Phantom Carriage marked the apogee of Swedish production.

Does that mean that the screenplay of Trouble is good? 46 CINEMA YESTERDAY AN» TODAY It is not bad, is not very pretentious and offers the opportunity to include some likable images. ,,\Ie are bored every week by so many novels, stage comedies and stage dramas made ridiculous by the screen, which they in turn make ridiculous, that we find some relaxation in Trouble. The children's home, the little dog, Jackie dragging the plumber's bag, the leak, the twenty-dollar bill, are all pleasing motifs.

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