By Bert Cardullo
5 French Filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer; Essays and Interviews is, as its identify shows, a set of essays approximately, by means of interviews with, 5 of France's significant motion picture administrators from the silent interval (the early a part of Jean Renoir's profession) in the course of the New Wave and past (even to the current, within the motion pictures of Eric Rohmer). such a lot critics could agree that those 5 males are one of the most crucial, if no longer an important, within the historical past of French cinema this means that, after all, that they play an important function within the heritage of global cinema in addition. in addition, there are echoes of Renoir's paintings in François Truffaut's, at the same time there are of Robert Bresson in Rohmer. the good Jacques Tati himself is proof of Bresson's dictum that "the soundtrack invented silence," for he made all of his comedies another way jam-packed with silence throughout the sound interval. 5 French Filmmakers, then, is the macrocosmic French cinema in microcosm. And all of the extra so simply because this booklet is brought through the seminal French theorist and critic Andrè Bazin (1918-1958), who in 1957 wrote an essay (translated right here through me, for the first actual time) titled "Fifteen Years of French Cinema," which serendipitously spans the interval from Renoir's sound photographs the entire means as much as the beginning of the hot Wave. Bazin obviously talks approximately the entire vital administrators, as well as Renoir, Bresson, Tati, Truffaut, and Rohmer, operating or beginning their careers from 1942 to 1957, that is accurately why i've got integrated his piece in certainly, positioned it first and foremost of 5 French Filmmakers.
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Additional info for Five French Filmmakers: Renoir, Bresson, Tati, Truffaut, Rohmer; Essays and Interviews
We forget one thing, which is that relativity doesn’t exist only in time and in space. Everything, absolutely everything, is relative. We’re surrounded by relative truths; there are only relative truths; everything depends on the circumstances, on the moment. I don’t give a story about a baker any more importance than one about people who don’t want to go to war. It’s always a matter of seizing a certain aspect of life seen at two moments, probably different yet related aspects, without establishing a hierarchy between the two.
And I think that the reality of romantic adventures is the one that is the most deformed. It’s insane how lovers who fight suddenly see facts and the world through a distorted lens and lose all sense of reality. This is the romantic tradition. We have to deal with a hundred and fifty years of romantic tradition concerning love, what we call the emotions, and the way to approach women. Despite its lace covering, the reality of love seems much truer to me in Marivaux and up until the end of the eighteenth century, even in the politically revolutionary works.
Second, when one’s technical concerns are limited to the essentials, these essentials become much more profound and become more special as well. I believe that a good painter is harder to find than a good filmmaker, because a good painter, since he doesn’t have very advanced technology, since he is limited in his means, has to be more clever. ” I think that this is extremely important in art. The painter has the advantage of digging into the same little hole every time, and as a result he can go very, very deep.