Comments on: What do you usually do between your breaks? http://www.naruhodou.org/choco/2009/11/08/what-do-you-usually-do-between-your-breaks/ Ich bin ein Baumkuchen. Sat, 10 Jul 2010 20:24:00 +0000 http://wordpress.org/?v=2.9.2 hourly 1 By: Gorp http://www.naruhodou.org/choco/2009/11/08/what-do-you-usually-do-between-your-breaks/comment-page-1/#comment-738 Gorp Mon, 09 Nov 2009 19:24:39 +0000 http://www.naruhodou.org/choco/?p=1224#comment-738 well, theoretically he may not be considered part of the Cahiers-Group (which is associated with triggering the NV, of course), and with "debut" I mean feature film (Night and Fog is more like a documentary in short film form) debut - but his work at the time of “Les 400 Coups” and "Breathless" is no less characterized by that incredible energy which was unique to the NV and IMO should thus be included when considering those emerging new wave features (same goes for Jacques Demy, Agnès Varda and Chris Marker - if a defining factor for the Nouvelle Vague was an ardent love for and subsequent quoting of classic Hollywood, then Demy's entire filmography may be considered the "truest" to that spirit out of any work by those above mentioned directors xD) oh yeah, and of course, Truffaut's film is absolutely wonderful. see, it is actually pretty hard for me to decide on a particular one - there was probably no comparable moment in film history, when there was a greater surge of sheer creative energy in the art of filmmaking, all coming from the background of simply loving the cinema. well, theoretically he may not be considered part of the Cahiers-Group (which is associated with triggering the NV, of course), and with “debut” I mean feature film (Night and Fog is more like a documentary in short film form) debut – but his work at the time of “Les 400 Coups” and “Breathless” is no less characterized by that incredible energy which was unique to the NV and IMO should thus be included when considering those emerging new wave features (same goes for Jacques Demy, Agnès Varda and Chris Marker – if a defining factor for the Nouvelle Vague was an ardent love for and subsequent quoting of classic Hollywood, then Demy’s entire filmography may be considered the “truest” to that spirit out of any work by those above mentioned directors xD)

oh yeah, and of course, Truffaut’s film is absolutely wonderful. see, it is actually pretty hard for me to decide on a particular one – there was probably no comparable moment in film history, when there was a greater surge of sheer creative energy in the art of filmmaking, all coming from the background of simply loving the cinema.

]]> By: Sasa http://www.naruhodou.org/choco/2009/11/08/what-do-you-usually-do-between-your-breaks/comment-page-1/#comment-737 Sasa Mon, 09 Nov 2009 17:53:35 +0000 http://www.naruhodou.org/choco/?p=1224#comment-737 Haha, wow J.R. - obviously for him it's possible to make a huge analysis with this movie XD I can totally see how you can enjoy it and while Resnais feels a little bit less Nouvelle Vague to me, I do see it in Mélo. I think the greatest about the last scene is how quickly and suddenly the characters switched between friendliness and anger. And I was surprised that Marcel kept lying to Pierre until the very end, considering that he was the one who was speaking about honesty at the beginning. It makes a lot of sense and gave the film a nice closure. Resnais' debut doesn't really count as Nouvelle Vague, no? (In case you are thinking of "Night and Fog") Also, what about Truffaut's? "Les 400 Coups" is the best! I can't believe I have never seen anything by Demy yet, ahaha. Haha, wow J.R. – obviously for him it’s possible to make a huge analysis with this movie XD I can totally see how you can enjoy it and while Resnais feels a little bit less Nouvelle Vague to me, I do see it in Mélo.

I think the greatest about the last scene is how quickly and suddenly the characters switched between friendliness and anger. And I was surprised that Marcel kept lying to Pierre until the very end, considering that he was the one who was speaking about honesty at the beginning. It makes a lot of sense and gave the film a nice closure.

Resnais’ debut doesn’t really count as Nouvelle Vague, no? (In case you are thinking of “Night and Fog”) Also, what about Truffaut’s? “Les 400 Coups” is the best!
I can’t believe I have never seen anything by Demy yet, ahaha.

]]> By: Gorp http://www.naruhodou.org/choco/2009/11/08/what-do-you-usually-do-between-your-breaks/comment-page-1/#comment-736 Gorp Mon, 09 Nov 2009 15:26:47 +0000 http://www.naruhodou.org/choco/?p=1224#comment-736 I love you for liking this! xD oh yes, the story itself is basically trivial, but the ways in which Resnais' mise en scène elevates the material is astonishing. if you are interested, i'd recommend reading J-Ro's gargantuan analysis http://www.jonathanrosenbaum.com/?p=7690 what makes the film so special for me, is the way it embraces the stage-origin of the material (complete with those painted curtains!) while utilizing these incredibly smart and effective camera movements that blend the theatrical and the cinematic to achieve these great dramatic heights - eg. the scene in which the three characters converse out in the garden, and André Dussolier begins this story of his casually, which becomes more and more intense while the camera moves from behind the listeners' back to almost a close-up of the narrator and the lighting seems to become increasingly claustrophobic. or that entire dinner-party in which time seemed to have stood still (this is an eerie quality present in all his best works, while Marienbad is basically build entirely on this effect). or that last scene between the two male protagonists, which I think is the one you mentioned, in which the relationship of theirs shifts from friendship to rivalry, highlighted by that slow 360° shot during Pierre Arditi's monologue on his dead wife. ahh. it is easiliy my favorite Resnais, and probably the most enjoyable. Hiroshima mon amour is fantastic as well and should be essential viewing, as are all other Nouvelle Vague debuts :) (though I do prefer Demy's and Godard's respective firsts to Resnais'). I love you for liking this! xD

oh yes, the story itself is basically trivial, but the ways in which Resnais’ mise en scène elevates the material is astonishing.
if you are interested, i’d recommend reading J-Ro’s gargantuan analysis

http://www.jonathanrosenbaum.com/?p=7690

what makes the film so special for me, is the way it embraces the stage-origin of the material (complete with those painted curtains!) while utilizing these incredibly smart and effective camera movements that blend the theatrical and the cinematic to achieve these great dramatic heights – eg. the scene in which the three characters converse out in the garden, and André Dussolier begins this story of his casually, which becomes more and more intense while the camera moves from behind the listeners’ back to almost a close-up of the narrator and the lighting seems to become increasingly claustrophobic. or that entire dinner-party in which time seemed to have stood still (this is an eerie quality present in all his best works, while Marienbad is basically build entirely on this effect). or that last scene between the two male protagonists, which I think is the one you mentioned, in which the relationship of theirs shifts from friendship to rivalry, highlighted by that slow 360° shot during Pierre Arditi’s monologue on his dead wife.

ahh. it is easiliy my favorite Resnais, and probably the most enjoyable. Hiroshima mon amour is fantastic as well and should be essential viewing, as are all other Nouvelle Vague debuts :) (though I do prefer Demy’s and Godard’s respective firsts to Resnais’).

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