Film of Paul Bowles Short Story Rediscovered
By RANDY KENNEDY
This is an interesting article about You Are Not I, a film directed by Sara Driver in the 1980s. The film is inspired by a short story written by Paul Bowles. According to the article the film is about a woman who escapes an insane asylum. In an effort to protect herself from being sued, she sent a copy of the film to Bowles, who was living in Turkey at the time. Much to her surprise, Bowles showed great praise for the film. She eventually released the film and it received a great cult following. Unfortunately the one print she owned eventually got damaged. For sometime she thought that the film was gone for good, but a film librarian at the University of Delaware recovered the copy she sent to Bowles. The fact that this film has the allure of uncovered treasure certainly intrigues me. This definitely makes this a flick worthy of watching.
Tuesday, November 30, 2010
Article Response 1
This article highlights a recent re-release of Limite, an experimental silent film directed by Mario Peixoto in the 1930’s. The film has been said to be a compilation of strong imagery. According to Peixoto, the experience offered by the film cannot be captured by dialogue but rather by the feelings exuded by the images. According to the article, it is said that this film has had a radical cult following. The recent restoration of the film has been said to recreate the film. This article does a good job putting this film on a pedestal. After reading a few descriptions of this film online, it seems as thou Rohter is not the only critic who believes this film belongs on a pedestal. Therefore, It seems like a rather interesting flick to catch.
Joseph Roman
11/4/10
La Belle et La Bete - The Beauty and The Beast (1946)
Country of Origin: France
Language of Film: French
Released in France October 29th, 1946
Released in United States September 23, 1947
Directed by Jean Cocteau
Starring: Jean Marais — La Bête (The Beast) / The
Prince/Avenant
Josette Day — Belle
Mila Parély — Félicie
Nane Germon — Adélaïde
Michel Auclair — Ludovic
Raoul Marco — The Usurer
Marcel André — Belle's Father
Awards: Prix Louis Delluc (1946 – won by Jean Cocteau)
La Belle et la Bête, the film which marked Jean Cocteau's return to directing after an interval of 15 years, is a work which continues the vein of fantasy which had characterized his scriptwriting during the wartime years in France. The film is typical of its period, for the early postwar years in France saw no resurgence of realism in comparison with the emergence of surrealism in Italy. But in all other ways the appropriation of a fairy tale to the film maker's own personal mythology is a totally individual work.
I read two articles, http://people.wcsu.edu/mccarneyh/fva/c/La_Belle_et_la_Bete_780.html and http://www.netcomuk.co.uk/~lenin/jean_cocteau_batb.html. The first article is gives a thorough explanation of the symbolism in the film. It also highlights the detailed sets of the film. The second article highlights Cocteau’s inspirations.
According to the second article, the film is based on the tale as told by Madame Leprince de Beaumont, but there is evidence in Cocteau's approach of the childlike innocence which the director demands of his audience in his brief introduction to the film. Visually, the film is one of Cocteau's most sophisticated works. The costumes designed by Christian Bérard and the lighting and framing devised by Henri Alekan are decorative rather than functional and take their inspiration from classic Dutch painting, particularly the work of Vermeer. Despite the presence of René Clément as technical supervisor, the film shows none of the reliance on complexity of scripting and use of heavy irony so characteristic of French cinema in the late 1940s. The legend is handled in a dazzlingly eclectic style.
11/4/10
La Belle et La Bete - The Beauty and The Beast (1946)
Country of Origin: France
Language of Film: French
Released in France October 29th, 1946
Released in United States September 23, 1947
Directed by Jean Cocteau
Starring: Jean Marais — La Bête (The Beast) / The
Prince/Avenant
Josette Day — Belle
Mila Parély — Félicie
Nane Germon — Adélaïde
Michel Auclair — Ludovic
Raoul Marco — The Usurer
Marcel André — Belle's Father
Awards: Prix Louis Delluc (1946 – won by Jean Cocteau)
La Belle et la Bête, the film which marked Jean Cocteau's return to directing after an interval of 15 years, is a work which continues the vein of fantasy which had characterized his scriptwriting during the wartime years in France. The film is typical of its period, for the early postwar years in France saw no resurgence of realism in comparison with the emergence of surrealism in Italy. But in all other ways the appropriation of a fairy tale to the film maker's own personal mythology is a totally individual work.
I read two articles, http://people.wcsu.edu/mccarneyh/fva/c/La_Belle_et_la_Bete_780.html and http://www.netcomuk.co.uk/~lenin/jean_cocteau_batb.html. The first article is gives a thorough explanation of the symbolism in the film. It also highlights the detailed sets of the film. The second article highlights Cocteau’s inspirations.
According to the second article, the film is based on the tale as told by Madame Leprince de Beaumont, but there is evidence in Cocteau's approach of the childlike innocence which the director demands of his audience in his brief introduction to the film. Visually, the film is one of Cocteau's most sophisticated works. The costumes designed by Christian Bérard and the lighting and framing devised by Henri Alekan are decorative rather than functional and take their inspiration from classic Dutch painting, particularly the work of Vermeer. Despite the presence of René Clément as technical supervisor, the film shows none of the reliance on complexity of scripting and use of heavy irony so characteristic of French cinema in the late 1940s. The legend is handled in a dazzlingly eclectic style.
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