Written, directed, and shot by Louis Malle, God’s Country is the story about a small farming town in Glencoe, Minnesota where Malle visits the people in 1979 as he would return six years later to see how much has changed. It’s a documentary film that explores the life of a small town that seemed to have a nice niche for themselves only to suffer through an economic decline during the years of Ronald Reagan. The result is an intoxicating film from Louis Malle.
Originally made for public television, the film has Louis Malle traveling around America where he stumbles around this small farming town 60 miles west from Minneapolis in Glencoe, Minnesota. Though Malle was originally going to make a documentary about a large mall in the state, he and a small crew roamed around the country where it was an old lady’s garden that got Malle’s attention as he made this film about this little community where everyone kind of know each other and they would all mow their lawn once a week. Shot largely in 1979, the film chronicles this life where many of the locals are Caucasian of German descent as they all eat and run local businesses. Some of the locals that Malle would meet would prove to be very fascinating.
Among these locals is the old woman Malle meets in the beginning of the film as he would see her again six years later where she’s still planting and tending to her garden at the age of 91. Much of the film’s first hour is focused on the town in 1979 where Malle would meet various individuals such as an attorney and his wife who is a councilwoman and creates plays, a bachelor whose job is to get cows pregnant by inject bull semen into their genital areas, a family who runs the local Dairy Queen, and some farmers as the youngest of them is in his late 20s. The people that Malle talk to are very interesting as the lawyer and his wife have a son who is part of movement in the 60s as he had moved to California and eventually become part of the culture in Silicon Valley. While some of the locals admit to talking about issues such as homosexuality, racism, and political issues. They all do it very kindly as it is surprising that as conservative as the town is. They are open to progressive thinking as it allows people to get along easier as there’s not much crime.
By the time the film reaches its final 20 minutes where it picks up six years later, it becomes a much somber film as it play into the struggles that the farmers are going through. Especially as the young farmer and his family reveal the dreams they had for their children about taking over the family farm only to wish years later for the children in hoping to do something else. Even as some farmers become frustrated with how things have turned out during the Ronald Reagan administration as it ends with Malle, who doesn’t make his presence known in the film except in the last 20 minutes, eating dinner with the attorney and his wife where the former expresses his own views of what Reagan has done for the country as his sentiments really echo a lot of what America was becoming. Much of Malle’s direction is straightforward as he and a couple of camera operators shoot the film with James Bruce editing all of the footage where he uses some jump-cuts for some of the interviews. Sound editors Jean-Claude Lareux and Keith Rouse both provide the sound with the former doing much of the work from the 1979 footage and the latter doing the sound from the 1985 footage.
God’s Country is a phenomenal film from Louis Malle. Not only is a rapturous portrait of a small American town seen from the eyes of a European but also a look into a community that is very ordinary yet content despite the troubles they would endure in the 1980s. In the end, God’s Country is an incredible film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - Black Moon (1975 film) - (Close Up (1976 short film) - (Dominique Sanda ou Le reve eveille) - Pretty Baby (1978 film) - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers (1984 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2017
Written, co-shot, and directed by Louis Malle, Place de la Republique is a film that explores the working class and common people in and around Paris, France on the street section in which the film is named after. The film is a documentary that has Malle going around the many street corners and such to explore the ordinary lives of Parisians. Even as he tries to find something extraordinary in people who are just ordinary. The result is a fascinating and engrossing film from Louis Malle.
Shot in the course of 10 days during the fall of 1972, the film is simply a story of life at the street section of Place de la Republique in Paris, France where Louis Malle and a small crew talk to various people in the streets. Throughout the course of the film, Malle with cinematographers Etienne Becker and Fernand Mozskowicz and sound recorder/editor Jean-Claude Lareux would roam around the street and find many things in this street that isn’t just filled with some regulars but also people who are just there for some reason. Yet, the people that Malle would meet prove to be just as fascinating as the many other people in and around Paris. Among them is a partially-blind woman, a wig seller, a beautiful woman who would be briefly employed by Malle to hold the boom mic, an old woman talking about living in Paris during World War II when it was occupied by the Nazis, a man in his 90s playing violin, and various others.
Much of the filmmaking is simple where Malle, Becker, and Mozskowicz would shoot everything with hand-held or over-the-shoulder cameras as much of it is shot in the day with few scenes shot at night. With the help of editor Suzanne Baron collecting the footage and create jump-cuts for some of the interviews, Malle just goes for something simple in the way he films things. Even as the people he interviews are well-informed that they’re being filmed as they’re either annoyed or amused by being on camera. Malle would at times appear on camera with his crew yet prefers to have the film be focused on those he’s meeting in this small street in Paris proving that their lives are just as interesting as his.
Place de la Republique is a marvelous film from Louis Malle. It’s an engrossing film that explore the lives of ordinary people at a street in Paris who prove to be very interesting no matter how ordinary they are. In the end, Place de la Republique is a remarkable film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dan le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Lacombe, Lucien - Black Moon (1975 film) - (Close Up (1976 short film) - (Dominique Sanda ou Le reve eveille) - Pretty Baby (1978 film) - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers (1984 film) - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2017
Based on the film Big Deal on Madonna Street by Mario Monicelli, Crackers is the story of a group of small-time thieves who decide to rob a local pawn shop that is owned by a greedy man. Directed by Louis Malle and screenplay by Jeffrey Fiskin, the film is a comedic take in the world of caper films where a group of men try to boost their luck in hoping to rob a store and succeed. Starring Donald Sutherland, Sean Penn, Wallace Shawn, Larry Riley, Christine Baranski, and Jack Warden. Crackers is a delightful and silly film from Louis Malle.
Set in a neighborhood in San Francisco, the film revolves around a group of misfits who decide to rob a pawn shop in the hopes of making their lives better as well as give the greedy pawn shop owner his comeuppance for short-changing them. It’s a caper film of sorts that play into guys who are broke, unemployed, and in need of money and food as they decide to do a robbery. Along the way, hilarity ensues as their attempts to create alibis and all sorts of things cause trouble as it leads to the climatic heist. The film’s screenplay by Jeffrey Fiskin is simple as it play into a group of guys who are down on their luck as they hope that the heist will make their lives better. Even as some have girlfriends or families to take care while one of them in Turtle (Wallace Shawn) is just homeless as he’s constantly hungry.
Louis Malle’s direction is actually very simple where he shoots the film on location in this street in the middle of San Francisco as it plays into a world that is very diverse. While Malle does use some wide shots to capture the look of the city as it is a character in the film, Malle goes for something that is more intimate by utilizing close-ups and medium shots to play into the characters and the situations they endure. It also plays into the pawn shop which is where many of the characters socialize at as there are things they want but also hope to score money for whatever they can steal and pawn off. There are elements that are fun and raucous but also silly where the film does lose a bit of steam in its third act as it leads to the climatic heist. Notably as Malle tries to mix some suspense with some silliness as the result is a mixed bag where one overwhelms the other. Overall, Malle creates a flawed but fun film about a group of misfits trying to rob a pawn shop.
Cinematographer Laszlos Kovacs does excellent work with the film‘s cinematography from the usage of lights for scenes at night in the exteriors as well as some naturalistic look for the scenes set in the day. Editor Suzanne Baron does nice work with the editing as it‘s mostly straightforward to play into the humor and some of the suspenseful moments. Production designer John J. Lloyd and set decorator Hal Gausman do fantastic work with the look of the pawn shop with all of the objects and the things at the shop as well as the elaborate look of the alarm.
Costume designer Deborah Nadoolman does terrific work with the costumes as a lot of it is casual but also has some style to play into the personality of the characters. Sound editors Ruth Blakeslee and Gail Showalter do superb work with the sound from the way the shop alarm would sound as well as some of the sparser moments in the film. The film’s music by Paul Chihara is wonderful for it mixture of electronic music with some blues to play into the vibrant and diverse world that is San Francisco while the theme song by Michael McDonald is a fun and upbeat number that plays into the film‘s mischievous tone.
The casting by Juliet Taylor is amazing as it features some notable small roles from Edouard DeSoto as a bartender that Ramon wants his sister to be with, Tasia Valenza as Ramon’s sister Maria whom Dillard falls for, Charlayne Woodard as a maid named Jasmine that Boardwalk wants to help, Irwin Corey as an old friend Weslake in Lazzarelli, and Anna Maria Horsford as Boardwalk’s hooker wife Slam Dunk who is tired of her husband’s constant failures. Christine Baranski is wonderful as Maxine as a traffic cop that Weslake is dating as she also spends time being with other men. Trinidad Silva is terrific as Ramon as a Mexican who is dealing with trying to evade immigrants while joining in the heist for money. Larry Riley is fantastic as Boardwalk as a pimp with a baby that deals with his wife leaving him and trying to get out of the game once he meets and falls for Jasmine.
Wallace Shawn is brilliant as Turtle as a homeless man that is always hungry as he’ll eat anything he sees while being a man of few words as he joins the heist so he can feed himself. Sean Penn is excellent as Dillard as a Southern musician who falls for Ramon’s sister as he’s also a skilled electrician that helps out in the heist so he can get revenge on Garvey for not giving him a guitar that he wants. Jack Warden is marvelous as Garvey as a pawn shop owner that is reluctant in giving people money over objects that are worth a lot more while selling those at a high price as it relates to some realities over what is happening with his business. Finally, there’s Donald Sutherland in a remarkable performance as Weslake as a man who just lost his job as he decides to steal from his friend Garvey in the hopes that he can give Maxine a dream vacation as well as a good life as Sutherland also brings a lot of humor to his performance.
Crackers is a stellar film from Louis Malle. Armed with a great cast as well as a fun premise, the film is a light-hearted and enjoyable comedy though it is one of Malle’s more lesser works but one that remains to be very entertaining. In the end, Crackers is a terrific film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby (1978 film) - Atlantic City (1980 film) - (My Dinner with Andre) - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2016
Directed by Louis Malle and written by Malle and Joyce Bunuel, Black Moon is the story of a young woman who takes refuge at the countryside during a war where she finds herself at the home of an eccentric family. The film is an avant-garde exploration into a young woman dealing with a world that is surreal and unlike anything she’s encountered. Starring Cathryn Harrison, Joe Dallesandro, Alexandra Stewart, and Therese Ghiese. Black Moon is a strange yet evocative film from Louis Malle.
Set in a dystopian world where there’s a war between men and women, the film revolves around a young woman who takes refuge in a lavish countryside home where an eccentric family lives there and nothing makes sense. It’s a film that doesn’t have much of a plot nor does it feature much dialogue as it’s about a woman dealing with a world that is surreal and odd yet it serves as this strange escape from the dark reality of war. Yet, the world she would encounter involves an old lady (Therese Ghiese) lying on her bed only speaking coherently on a ham radio next to her while her adult children (Joe Dallesandro and Alexandra Stewart) don’t say a word as they do farming activities. Along with naked children running around chasing animals and the old lady being breast-fed by her daughter. It’s among these things that Lily (Cathryn Harrinson) would deal as she tries to make sense of everything.
Louis Malle’s direction definitely owes a lot to the idea of surrealism where it seems real but it’s also very off. The film begins with Lily driving in her car disguised as a man as she realizes she is in the middle of a war zone where men are killing women in this conflict. For about fifteen minutes, there is no dialogue other than what is heard on the radio. Once Lily is in the forest hiding from both forces as she would encounter the daughter riding a horse and a donkey with a unicorn horn. With the usage of wide and medium shots to capture the landscape along with some unique tracking and dolly shots for a few chase scenes and close-ups to play into Lily’s own reaction to what she sees. There’s some unique moments where Lily sees the sister doing something and then she goes into another room and sees her again as if she was there a second ago. It adds to a world that doesn’t make sense nor does it apologize for it as it adds to what Malle wants to do. Overall, Malle creates an odd yet riveting film about a young woman’s encounter with a surrealistic world.
Cinematogrpaher Sven Nykvist does brilliant work with the film‘s colorful cinematography in capturing the damp yet naturalistic look of the locations in the French countryside as well as in creating some unique lighting for some of the film‘s interior setting. Editor Suzanne Baron does excellent work with the editing with its usage of jump-cuts and other rhythmic cuts to play into the film‘s offbeat tone as well as some of the stranger moments that occur. Production designer Roland Thenot and art director Ghislain Ury do fantastic work with the look of the home that Lily encounters as well as the rooms inside the home such as the bedroom of the old lady with all sorts of things around her.
The sound work of Nara Kollery and Luc Perini is amazing for its usage of sound effects that play into the world of fantasy as well as creating a sense of atmosphere in some of the rooms such as the sounds of clocks ringing that Lily tries to destroy. Music supervisor Diego Masson does wonderful work with the music as the soundtrack largely features some opera and classical music which largely consists of pieces by Richard Wagner.
The film’s superb cast features a wonderful performance from Therese Ghiese as the old lady as she would speak in broken French or a different language while speaking more clearly when she’s talking to a ham radio. Alexandra Stewart and Joe Dallesandro are excellent in their roles as the old lady’s adult children who don’t say anything but rather communicate through touch as they add a sense of eccentricities to their performances. Finally, there’s Cathryn Harrison in a radiant performance as Lily as this young woman who deals with the strange surroundings she is in as she does say a lot to express her frustration and confusion while being very energetic to express the emotions she is carrying.
Black Moon is an odd yet ravishing film from Louis Malle. While it is definitely one of his strangest and inaccessible films of his oeuvre, it is still one of the most fascinating studies of surrealism as well as a young woman’s desire to escape from the harsh realities of a world in conflict. In the end, Black Moon is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby (1978 film) - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2016
Directed by Louis Malle and screenplay by Polly Platt from a story by Malle and Platt, Pretty Baby is the story of a 12-year old girl who works in New Orleans’ Red Light District in the early 20th Century as a prostitute. The film is an exploration into a young woman coming to terms with her sexuality as she watches her mother work as a prostitute where she is forced to be part of a world she is not ready for. Starring Brooke Shields, Susan Sarandon, and Keith Carradine. Pretty Baby is a compelling yet provocative film from Louis Malle.
Set in the Storyville area of New Orleans in 1917, the film revolves the young life of a 12-year old girl whose mother is a prostitute as she catches the eye of a photographer as she would become his muse and lover. It’s a film that plays into this young girl who comes of age during this time where she only knows the life of being in a whorehouse and tending to things at the place. Even as she would eventually become a prostitute herself where the result would have her grow up too fast. It’s a film that is set into a period in time where morals tend to fall by the wayside as it is about money and being fulfilled sexually while the women who prostitute themselves are using their sexuality to get what they want and hopefully have a better future.
Polly Platt’s screenplay uses this setting as a backdrop for this young girl coming of age where she wouldn’t just live with prostitutes, bartenders, cooks, musicians, and a brothel madam but also children who live and work in the house. It’s a world that is something where it has its own rules yet everyone helps each other out. For the character Violet (Brooke Shields), she is part of that world as she would help take care of the younger children, including her newborn baby brother Will, and give the brothel madam Nell (Frances Fay) what she needs if it’s cocaine or opium. It’s a world that gives Violet a sense of fulfillment but her mother Hattie (Susan Sarandon) is tired of the life as she is quite immature at times as well as selfish. When the photographer E.J. Bellocq (Keith Carradine) comes in to do photographs, he is intrigued by Violet as he sees her as a young girl becoming a woman while being conflicted of being there for her and give her the life that she needs.
The script also has a very offbeat structure where much of the film is set in this brothel with very little places outside of it as it plays to the world that Violet lives in and how comfortable she is in this world of booze and sex. Even if she is too young for it as its second act has her lose her virginity to a man she doesn’t know and deal with her mother’s desire to leave the brothel. The third act would have Violet leave the brothel to stay at Bellocq’s where it’s a very different world with rules as well as Bellocq’s devotion to his work as a photographer. It’s also a moment where Violet not only faces the real world but also a world that is starting to change once World War I is ending.
Louis Malle’s direction is very exotic for the way he presents 1917 New Orleans by shooting on location in the city with its old buildings along with a few shots in Mississippi. Much of the compositions do play into some of the photos that the real E.J. Bellocq did during that time in the way Malle would place the characters into a frame or how he would set up a shot. A lot of it features some intricate medium shots for some of these scenes including the photos that Bellocq would create. There is a beauty to the brothel that Violet lives in as it’s very lively and has this air of sophistication mixed in with a bit of decadence. Yet, there’s an air of innocence that Malle captures in the film as he sees Violet have the energy of a child but also a woman who is quite mature but also immature.
Then there’s the sexuality of the film where there are scenes of Violet being nude as it is discomforting to watch. Especially since she is a 12-year old girl as it definitely borders the line of what is obscene yet it does play into not just Bellocq’s obsession towards her but also Violet’s own awareness of her sexuality. Even as there’s a shot of Violet lying on a couch for a photograph totally nude, with the exception of her genitalia, as it is very provocative in how it can bring a sense of discomfort but there’s a beauty to it. Even as Malle is aware of what he needed to say visually as it plays into Violet’s encounter with the real world where it is about order and morality just as the home she had known for all of her life becomes the target of everything that is wrong. Overall, Malle creates a very fascinating yet unsettling film about a young girl coming of age in early 20th Century New Orleans.
Cinematographer Sven Nykvist does incredible work with the film‘s cinematography as it is a major highlight of the film in terms of the attention to detail in its photography for many of its interior scenes and usage of naturalistic and artificial light along with . Editor Suzanne Fenn does excellent work with the editing as it is very straightforward as well as using rhythmic cuts to capture Violet‘s own sense of energy. Production designer Trevor Williams and set decorator James L. Berkey do amazing work with the look of the brothel in its state of glamour as well as how small the kitchen is along with the studio that Bellocq works at.
Sound mixer Donald F. Johnson does nice work with the sound to play into the atmosphere of the locations as well the mixture of live music and natural sounds in the mix. The film’s music by Ferdinand Morton is superb for its New Orleans jazz-based score while the rest of the soundtrack features the music of those times.
The casting by Gary Chason and Juliet Taylor is fantastic as it features some notable small performances from Matthew Anton as a young boy named Red Top, Barbara Steele as the prostitute Josephine, Mae Mercer as the cook Mama Mosebery, and Diana Scarwid as the European prostitute Frieda. Antonio Fargas is terrific as the piano player Professor who is a friend of the prostitutes while being the one to keep an eye on her at times. Frances Faye is excellent as the brothel madam Nell as a woman who runs the operation and make sure things go well while doing drugs to cope with her aging. Susan Sarandon is brilliant as Violet’s mother Hattie as a prostitute who has the beauty and body of a successful prostitute but becomes tired of the life as she is eager to want something new despite her selfishness.
Keith Carradine is amazing as E.J. Bellocq as the famed photographer who is entranced by Violet’s personality and beauty as he falls for her while wanting to be her protector. Finally, there’s Brooke Shields in a phenomenal performance as Violet as this 12-year old girl who is enamored by her environment while having a troubled relationship with her mother as she would fall with this photography as it’s a very exciting yet dangerous performance from Shields who was only 12 when she did the film and expose herself in that way.
Pretty Baby is a remarkable film from Louis Malle that features a breakthrough performance from Brooke Shields. While it is definitely not a film for everyone as it does border the line between what is obscene. It is still a captivating film that plays into the world of a young girl coming of age in early 20th Century New Orleans in one of its seediest moments in history. In the end, Pretty Baby is a enchanting film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film - Zazie Dans Le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Written and directed by Louis Malle, Au Revoir Les Enfants (Goodbye Children) is the story of two boys at a Catholic school as one of them carries a secret during Nazi-occupied France in World War II. Based on Malle’s own childhood experience, the film is a coming-of-age story that plays into the lives of children dealing with a tense situation during World War II. Starring Gaspard Manesse, Raphael Fejto, Philippe Morier-Genoud, Francine Racette, and Irene Jacob. Au Revoir Les Enfants is a tremendous and touching film from Louis Malle.
Set in the winter of 1943-1944 during Nazi Germany’s occupation of France in World War II, the film revolves around the lives of children living in a Catholic school as among them is a returning student and a new one who has arrived to the school with a secret of his own. It’s a film that plays into a period in the life of a young boy who comes from an upper-class family as he meets a boy who is more of a stranger to his new environment yet they become friends through their loves of books. At the same time, Julien Quentin (Gaspard Manesse) learns something about his new classmate Jean Bonnet (Raphael Fejto) as he would keep it secret. Even as it plays to what is happening in Europe where Julien realizes what is going on and why Jean was taken in to the school along with a few students.
Louis Malle’s screenplay doesn’t have much of a plot as it emphasizes more on development to play into Julien’s awareness of his surroundings and his growing friendship with Jean. Jean arrives with some disdain from other classmates including Julien initially for the fact that he’s kind of an oddball as well as being the new kid who is actually better in academics and music than most of his classmates. Eventually, Jean becomes accepted as one of the boys as there’s subplots as it relates to the situation over what is happening outside of the school as the students and their teachers encounter a few German soldiers. Even as there’s also elements of black market where the students trade things with a young kitchen hand named Joseph (Francois Negret) while the boys also become interested in things like sex as it plays into their development. Yet, they’re forced to cope with the realities of their surroundings during the course of a cold winter just as the Nazis try to maintain order as well as assert their own authority into a place of faith and solitude.
Malle’s direction is quite simple as he doesn’t really go for anything that is stylistic with the exception of a few crane shots for a few scenes. Yet, it is mostly intimate with its approach to close-ups and medium shots as it plays into the typical life of what goes in a private Catholic school. Even in its compositions where Malle creates a moment in time as it relates to a boy coming of age during a tense moment in the history of the world as there is a scene where an algebra class is preceded with its teacher talking about what is happening as he is later interrupted by German soldiers. One notable sequence that plays into Julien and Jean’s growing friendship is a treasure hunt in the forest where Malle maintains something that is simple as well as something scary as it relates to the boys’ encounter with Nazi soldiers.
It’s one of a few moments of suspense while Malle also bring in ideas that play more into the reveal of some key characters as it relates to Julien and Jean’s friendship as there is also a funny scene where everyone is watching Charles Chaplin’s The Immigrant to show a world of escapism amidst this tumultuous period in time. It’s a moment where the teachers, staff, and student are all equal as well as the film’s ending as it plays into not just a loss of innocence but also a group of young boys and men of God who are forced to deal with the dark realities of the Nazi occupation. Overall, Malle creates a mesmerizing yet intoxicating film about two boys growing up at a Catholic private school during the Nazi Germany’s occupation of France.
Cinematographer Renato Berta does amazing work with the film‘s low-key cinematography with its usage of dark, grey colors for many of the film‘s locations as well as its emphasis on something natural while using some lights for scenes set at night. Editor Emmanuelle Castro does excellent work with the editing as it is very straightforward as it doesn‘t emphasize on style as it plays into the growing development of the drama. Production designer Willy Holt does fantastic work with the design of the school in its interiors as well as the cave where the boys and teachers hide out during an air raid.
Costume designer Corrine Jory does nice work with the costumes as it is mostly casual with its school uniform and priest robes along with casual clothes from some of the outsiders of the school. The sound work of Jean-Claude Lareux is terrific for its naturalistic approach to sound while capturing the sense of terror during the air raid sirens. The film’s music consists of pieces by Franz Schubert and Camille Saint-Saens as it is mostly played on location as it plays to the period of time as it serves as an emotional tool for Julien and Jean in their growing friendship.
The casting by Jeanne Biras and Iris Carriere is superb as it features notable small performances from Peter Fitz as a Gestapo official who leads the inspections, Stanislas Carre de Malberg as Julien’s older brother Francois who would often tease him but also help him, Francois Bereland as the generous and caring Father Michel, and Irene Jacob in a wonderful performance as the school’s lone music teacher Mademoiselle Davanne who is an outsider of the school. Francine Racette is terrific as Julien and Francois’s mother who adores Julien as she still treats him like a child. Francois Negret is fantastic as the cook helper Joseph who also is a black markets trader that plays an integral part to the story as it relates to what he does and the actions he would create towards the end of the film.
Philippe Morier-Genoud is excellent as the school’s headmaster Father Jean who watches over the school while is very protective of Jean as it relates to his own secret as he presents someone is trying to do something good. Raphael Fejto is amazing as Jean Bonnet as the new boy who arrives to school with a mysterious secret as he is someone that tends to keep to himself but shares his love of books and music to Julien which allows them to become close. Finally, there’s Gaspard Manesse in a brilliant performance as Julien Quentin as a young rich boy who is sort of the top student at the school who is quite dismissive at first towards Jean only to realize that how much they share the same love for books and such as he also copes with Jean’s secret and the realities of the world around him.
Au Revoir Les Enfants is an outstanding film from Louis Malle. Armed with a great cast and a compelling story about hate, faith, and growing up, it is a film that isn’t just one of Malle’s most accessible films but also one of his most personal. Especially as it plays to a period in time that Malle lived through as a child which adds to the intensity of the drama in the film. In the end, Au Revoir Les Enfants is a magnificent film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dans le metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Directed by Louis Malle and written by John Guare, Atlantic City is the story of a former gangster who protects a young courier after her husband had stolen some money as they’re both on the run from the mob. The film is an unlikely love story where an old man falls for a younger woman as they deal with chaos over stolen money in the middle of Atlantic City. Starring Burt Lancaster, Susan Sarandon, Kate Reid, Robert Joy, Hollis McLaren, Al Waxman, and Michel Piccoli. Atlantic City is a thrilling yet enchanting film from Louis Malle.
The film revolves a former gangster who befriends and falls for a young woman whose estranged husband had stolen some drugs from mobsters as he does whatever it takes to protect her. It plays into a man trying to cope with aging as he is struggling to get by as he is caring for an old woman as well as make money for the poor as his neighbor is a casino waitress training to be a courier. The two come together when Lou Pascal (Burt Lancaster) tries to help out this young drug dealer named Dave Matthews (Robert Joy) try to score a deal in which Lou will get a cut but things go wrong when the drugs that Dave stole belonged to a mob.
The film’s screenplay explores this old man trying to find meaning again as he falls for this young woman named Sally (Susan Sarandon) who wants a new life as she copes with her husband’s bad deals and how it would affect her chance for a brighter future. Even as Sally has to endure her ex-husband and her pregnant sister Chrissie (Hollis McLaren) as they would stay at her apartment while Lou spends his time taking care of a mob-boss widow named Grace (Kate Reid) where he doesn’t feel appreciated. All of which play into Sally and Lou coming together and make a new life for themselves.
Louis Malle’s direction is quite simple as there aren’t a lot of very stylistic shots yet it does play into a period in time where Atlantic City is moving away from its roots into something more modern and less glamorous. While it is a largely intimate film, there are some wide shots as it plays the decline of the old Atlantic City where its hotels and buildings are either destroyed or in ruins in favor of cheaper and more modern-day casinos. Malle does make the city a character as it is mostly shot on the actual city while he goes for close-ups and medium shots to play into some of the drama and suspense that looms throughout the film. Especially as there’s moments where Lou and Sally are in the same room but the latter isn’t aware of the former’s presence until the film’s second half. Malle’s direction does keep thing engaging as it includes some intense moments into the suspense as well as bits of humor as it play into Lou’s desire to reclaim his sense of youth and his attraction towards Sally. Overall, Malle creates a very engaging yet fun film about an ex-gangster protecting a young woman from the mob.
Cinematographer Richard Ciupka does excellent work with the film‘s very soft yet lush cinematography to capture the sense of griminess and bleak colors of the locations along with some unique lighting schemes to play into some of the romantic textures of the film. Editor Suzanne Baron does terrific work with the editing as it‘s very straightforward to play into the drama and suspense. Production designer Ann Pritchard and set decorator Gretchen Rau do amazing work with the look of the apartments of the key characters as well as some of the places they go to including the casinos.
Costume designer Francois Barbeau does nice work with the costumes from the suits that Lou would wear to the waitress/casual clothes that Sally wears to play into the ideas of the old and new world. The sound work of Jean-Claude Laureux is superb for its sound effects from the way music is heard on locations to the atmosphere in the casinos. The film’s music by Michel Legrand is wonderful though it is very sparse as it is mostly an ambient soundtrack while much of the soundtrack consists of different array of music from soul, rock, pop, classical, jazz, and opera music.
The film’s brilliant cast includes an appearance from the singer Robert Goulet as himself as well as notable small roles from Al Waxman as a dealer Lou knows, Wallace Shawn as a restaurant waiter, Hollis McLaren as Sally’s spiritual yet pregnant sister Chrissie, and Robert Joy as Sally’s estranged husband Dave who would try to create deals only to get himself into serious trouble. Michel Piccoli is superb in a small role as a courier teacher who tries to teach Sally the ropes in dealing while Kate Reid is fantastic as the aging mob widow Grace who orders Lou around while lamenting over the loss of the old Atlantic City. Susan Sarandon is amazing as Sally Matthews as this woman eager to make it as a courier while working part time as a waitress as she copes with her husband’s troubles and the protection of Lou. Finally, there’s Burt Lancaster in a phenomenal performance as Lou Pascal as this former gangster who was a top numbers man back in the old days as he copes with aging and the thirst to feel young again as Lancaster brings a sense of charm and energy into his performance.
Atlantic City is a remarkable film from Louis Malle that features top-notch performances from Burt Lancaster and Susan Sarandon. It’s a film that manages to transcend all genres while being very exciting with characters that are engaging and lively as it’s also one of Malle’s most accessible films. In the end, Atlantic City is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dans le metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Lacombe, Lucien - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Directed by Louis Malle and written by Malle and Patrick Modiano, Lacombe, Lucien is the story of a teenage boy dealing with life under German occupation of France in World War II. The film plays into a period of time when France was under severe control as a teenage boy would play a crucial part in France‘s war against Germany but on the wrong side after being rejected by the French Resistance. Starring Pierre Blaise, Aurore Clement, Holger Lowenalder, Therese Giehse, and Stephane Bouy. Lacombe, Lucien is a riveting coming-of-age film from Louis Malle.
Set in the summer of 1944 during Germany’s occupation of France in World War II, the film revolves an 17-year old boy who joins a Gestapo group after being rejected to join the French Resistance. Upon joining this band of French fighters who work with the Nazis, Lucien Lacombe (Pierre Blaise) feels like he belongs somewhere after being forced out of his family farm and having nowhere else to go. During his time working with the Gestapo, he befriends a Jewish tailor as he falls for the tailor’s daughter as he tries to help her family escape France as things intensify once the Allies start to gain ground and kick the Nazis out of France.
It’s a film that plays into a young man trying to find a place in the world as he becomes comfortable working with the Gestapo but eventually realizes he’s on the losing side as he is forced to do things to help those he care about while knowing he is a target. The film’s screenplay is very simple as it plays into Lucien’s desire to find meaning as he becomes seduced with power but realizes how dangerous things are once the Gestapo is being taken out by the Resistance. It’s in the third act where Lucien does find redemption but also knows that it will be short-lived as he becomes more concerned about saving those he care about rather than himself.
Louis Malle’s direction is very engaging for the way he portrays 1944 France during a tense summer as it shot on location in a rural, small town in the middle of France. Much of it is presented with images and compositions that are very intimate with elements of naturalism in its look. While there’s lots of close-ups and medium shots in the film, Malle’s approach to wide shots are entrancing to play into the location. Malle would also use hand-held camera shots to play into something that feels naturalistic as well as creating shots to play into some of the dramatic tension as it involves Lucien and this Jewish tailor named Albert Horn (Holger Lowenalder) since Horn is kept alive due to his work as Lucien would fall for Horn’s daughter named France (Aurore Clement). Malle would also create moments that are violent but he never really shows anything as it becomes evident in its third act once it becomes clear that Lucien is now in danger where it would set the path for his own redemption. Overall, Malle creates a very compelling yet intoxicating coming-of-age film about a young man in Nazi-occupied France.
Cinematographer Tonino Delli Colli does incredible work with the film‘s cinematography with its sunny and colorful daytime exterior scenes that has an air of naturalism with some unique lighting schemes for some scenes set at night at the home where the Gestapo runs their operation. Editor Suzanne Baron does excellent work with the editing as it‘s very straightforward with some rhythmic cuts to play into the drama and suspense. Production designer Ghislain Uhry and set decorator Henri Vergnes do amazing work with the set pieces from the home of the Gestapo to the messy apartment that Albert Horn and his family live in.
Costume designer Corrine Jorry does nice work with the costumes as it plays into that period in time from the dresses as well as some of the uniforms the Nazis wear. Sound mixer Nara Kollery does terrific work with the sound to capture some of the drama and moments of violence that definitely amps up the drama. The film’s music consists of pieces by Charles Gronoud and Django Reinhardt as it plays into the sense of youth in Lucien as well as some of the drama that occurs in the film.
The casting by Catherine Vernoux is brilliant as it features notable small roles from Jacques Rispal as the farm proprietor who dislikes Lucien, Gilberte Rivet as Lucien’s mother, Pierre Saintons as the collaborator Hippolyte, Cecile Ricard as the hotel maid who would seduce Lucien early in the film, Jacques Rougerie as the German police chief that would take charge of the local Gestapo, Loumi Iacobesco as an once-famous film star who works with the Gestapo, and Stephane Bouy as a top collaborator who would show Lucien the ropes into displaying power. Therese Giehse is fantastic in a small yet enchanting role as Albert’s mother Bella as she is mostly silent as she is merely an observer of what goes on as she has some distrust towards Lucien.
Holger Lowenadler is excellent as Albert Horn as a Jewish tailor who lives as a recluse as he is under secret protection for his work as he befriends Lucien as well as suspicious for his intentions for his daughter. Aurore Clement is amazing as Albert’s daughter France as she is the embodiment of innocence as she is also suspicious of Lucien’s intentions as she becomes aware of what the Germans will do to her family. Finally, there’s Pierre Blaise in a phenomenal performance as Lucien Lacombe as this 17-year old boy lost in the world as his attempts to be part of the French Resistance forces him to go into the other side by accident as he becomes seduced by power but also lost in a world where he knows he’s on the wrong side and is going to be killed for his actions.
Lacombe, Lucien is a sensational film from Louis Malle that features a stunning performance from Pierre Blaise. Armed with a great ensemble, a fantastic soundtrack, and a gorgeous cinematography from Tonino Delli Colli, the is definitely an intriguing coming-of-age film set in Nazi-occupied France during World War II as it is told from the other side. In the end, Lacombe, Lucien is a marvelous film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dans le metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Written and directed by Louis Malle, Le souffle au coeur (Murmur of the Heart) is the story of a boy coming of age in post-World War II France as he discovers the world of sex and the social life of his own mother. The film isn’t just an exploration into a boy’s awareness of sex as well as being in a bourgeois world that his mother is a part of. Starring Benoit Ferreux, Lea Massari, Daniel Gelin, Ave Ninchi, Gila von Weitershausen, and Michael Lonsdale. Le souffle au coeur is a witty yet intoxicating film from Louis Malle.
Set in 1954 France during the Indochina War, the film revolves around a young boy coming of age as he opposes the war yet becomes concerned with his interest in sex as well as his own relationship with his mother. All of which plays into the life of a 14-year old boy who becomes fascinated by the changes in his life as his older brothers are having parties with beautiful women while he starts to outgrow boyish things. Still, Laurent Chevalier (Benoit Ferreux) is still at a stage in his life where he is becoming an adult but is still a child at heart as he also copes with being unloved by his gynecologist father but adored by his mother Clara (Lea Massari). It is largely told from Laurent’s perspective as he deals with growing pains and the demands he has as a teenager where he is taught at a Catholic school while getting his first taste with girls and sex.
Louis Malle’s screenplay has a very unique structure where its first half is set in a small French town where Laurent is just a boy coming to terms with a world that is changing as he loves jazz music and all sorts of mischief with his older brothers. On a day he walks home from school with a friend, he would see his mother get into a car with another man as it would trigger a series of events where his brothers would take him to a brothel where he would lose his virginity. Yet, the encounter would only have him confused and ill with a heart murmur as the film’s second half is set in a hotel where Laurent is cared for as he’s accompanied by his mother. It’s in this sanatorium/hotel where Laurent not only increases his interest towards other girls but also learn more about the life of his mother as it adds to his growing awareness that everything in his family life isn’t exactly what it seems. Especially as the retreat has Laurent become more attached towards is mother.
Malle’s direction is very engaging for the way he portrays early 1950s France where television had just emerged in the country while there’s growing debate about the war in Indochina. It’s a film where Malle decides to create something that is intimate as some of it is based on his own upbringing where Malle would shoot the film in the small town of Dijon to play into an upper-middle class world. Using lots of medium shots and close-ups, Malle aims for something that is loose in terms of some of the film’s humor while going for something much more intimate in his framing as it relates to the drama and Laurent’s relationship with his mother. Things do get more intense though on a restrained level once the film is set in this retreat where Laurent not only becomes more interested in girls but also his own mother. Malle’s usage of hand-held cameras become more evident as it plays into some of the craziness that occurs in this retreat but also the tension that looms towards Laurent’s feelings for his mother. Overall, Malle creates a very engaging yet provocative film about a boy coming of age sexually in 1950s France.
Cinematographer Richard Aronovich does brilliant work with the film‘s lush and colorful cinematography to capture some of the low-key yet grimy look of the locations in Dijon along with the more evocative look at the retreat with its usage of natural lights. Editor Suzanne Baron does nice work with the editing as it‘s very stylish with its usage of jump-cuts to play into some of the humor and chaos that occurs in the film. Production designer Jean-Jacques Caziot does superb work with the look of the Chevalier family home as well as the hotel Laurent and his mother stay at.
The sound work of Jean-Claude Laureux does terrific work with the sound as it is raucous for some of the livelier moments with the crowd with sparse moments in the intimate scenes between Laurent and his mother. The film’s music consists of pieces by Sidney Bechet, Gaston Freche, Charlie Parker, Dizzy Gillespie, and Henri Renaud as it’s a fantastic soundtrack that plays into Laurent’s own love for jazz and how it means to him in a complicated world.
The film’s amazing cast includes some notable small performances from Jacqueline Chauvaud and Corrine Kersten as a couple of young women Laurent meet at the retreat, Francois Werner as the snobbish rich kid Hubert that flirts with Laurent’s mother at the retreat, Henri Poirier and Micheline Bona in their respective roles as Uncle Leonce and Aunt Claudine, Gila von Weitershausen as the prostitute Laurent would lose his virginity to, and Ave Ninchi as the family maid Augusta who tries to keep things under control in the chaotic home of the Chevalier family. Marc Winocourt and Fabien Ferreux are terrific in their respective roles as Laurent’s older brothers Marc and Thomas who often get him into mischief as well as try to get him laid.
Michael Lonsdale is superb as Father Henri who tries to understand what Laurent is going through while being his teacher and ponder about Laurent’s sudden interest in things that sort of attack the Catholic church. Daniel Gelin is excellent as Laurent’s father Charles as this renowned gynecologist who is very distant with Laurent as he is always busy and wonders why he is so odd. Lea Massari is brilliant as Laurent’s mother Clara as this Italian woman who is so full of life and love as she also leads a secret life that eventually becomes troubling as she copes with her own faults as a wife and mother. Finally, there’s Benoit Ferreux in a marvelous performance as Laurent Chevalier as this young man coming of age in the mid-1950s as he learns about sex and all sorts of things while getting an understanding of the world from books and jazz music as he also deals with his own feelings towards his mother.
Le souffle au coeur is a remarkable film Louis Malle. Armed with great performances and a fantastic soundtrack, it’s a film that plays into a young boy’s life as well as his understanding about the world of sex in 1950s France. In the end, Le souffle au coeur is a dazzling and delightful from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie Dans le Metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Based on the novel Will O’ the Wisp by Pierre Drieu La Rochelle, Le feu follet (The Fire Within) is the story of a recovering yet depressed alcoholic goes on a final journey to meet friends for the last time as he intends to kill himself. Written for the screen and directed by Louis Malle, the film is an exploration into a man’s final days as he tries to find reasons to live. Starring Maurice Ronet, Jeanne Moreau, and Alexandra Stewart. Le feu follet is a riveting yet haunting film from Louis Malle.
The film revolves on the day of the life of a recovering alcoholic who is about to leave a clinic as he leaves for Paris to see if he can find any reason to live as he is succumbing to depression and a need to kill himself. It’s a film that explores a man trying to find answers as he is wondering if he can return to the real world as he’s been spending months at a clinic in Versailles as his leave from the clinic becomes a test to see if he can return to the real world. What happens is that he not only learns that the lives of some of his friends have changed but some of them has disappeared. Some of his friends have changed their lives for the betters while others haven’t as it plays into this man’s growing sense of despair in the course of an entire day. Louis Malle’s screenplay doesn’t really go for any plot schematics other than explore what Alain Leroy (Maurice Ronet) is going through in the course of the day. Even as it features bits of voiceover narration to play into Alain’s state of mind.
Malle’s direction is very engaging for the way he aims to capture something that does feel real in the course of what might be his last day on Earth. Malle aims for something that is in line with the concept of cinema verite as he does shoot largely in locations in Paris and Versailles as there’s some hand-held cameras that shoot in these locations where there’s a lot of medium shots and close-ups. Most notably in the latter as Malle captures all of the anguish and despair in Leroy’s face as it plays into the sense of unknown but also fear as he is unsure about his place in the world. Even as it becomes more evident a dinner party late in the film where he stands out for the wrong reasons which only has him revealing that even though he is a wreck of a man. At least he’s being honest about it and has nothing else to lose. Overall, Malle creates an evocative yet mesmerizing film about a man going into an existential journey on what might be the last day of his life.
Cinematographer Ghislain Cloquet does brilliant work with the film‘s black-and-white photography from the look of the daytime interior/exterior settings to some very enchanting scenes set at night including the dinner party. Editor Suzanne Baron does excellent work with the editing as it is stylish to play into Leroy‘s troubled state of mind as it features some jump-cuts, dissolves, and fade-outs to play into the journey he would take. Production designer Bernard Evein does nice work with the set pieces from the look of the room that Leroy would stay at the clinic as well as the house party he would attend late in the film. Costume designer Gitt Magrini does terrific work with the costumes from the stylish clothes the women wear to the casual look of the men. The sound work of Guy Villette is superb for the sparse sounds at the party as well as the scenes set in Paris. The film’s music consists of pieces by Erik Satie as it is a crucial element to the film that plays into melancholic state of mind that Leroy would endure.
The film’s amazing cast includes appearances from Jean-Paul Moulinot as Leroy’s doctor, Rene Dupuy as a bartender Leroy knew in his apartment, Lena Skerla as a mistress early in the film named Lydia, Bernard Noel as a friend of Leroy in Dubourg who has become a family man, Ursula Kubler as Dubourg’s wife, Jacques Sereys as a rich friend in Cyrille, Alexandra Stewart as a socialite in Solange, Tony Taffin as a snotty and bigoted rich man in Brancion, and Jeanne Moreau in a wonderful performance as an old flame of Leroy who has become a drug addict. Finally, there’s Maurice Ronet in an incredible performance as Alain Leroy as a man who feels lost in his despair as he is unsure about his place in the world as he tries to figure out if he has anything else to offer as he already lost his wife, his family, and everything else as it’s a very entrancing performance from Ronet.
Le feu follet is a remarkable film from Louis Malle that features a tremendous performance from Maurice Ronet. The film isn’t just an intriguing study of depression and despair but also a look into the life of a man who could be spending his last day on Earth. In the end, Le feu follet is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dans le metro - (A Very Private Affair) - (Vive Le Tour) - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Based on the novel by Raymond Queneau, Zazie dans le metro (Zazie in the Metro) is the story of a young girl who arrives to the city of Paris under the care of her uncle where she would create all sorts of chaos in the span of a weekend. Directed by Louis Malle and screenplay by Malle and Jean-Paul Rappeneau, the film is an exploration into the world of a young girl who causes havoc in the city of Paris. Starring Catherine Demongeot and Philippe Noiret. Zazie dans le metro is an extremely nutty yet exhilarating film from Louis Malle.
The film is a simple story about a young girl who arrives in Paris to spend the weekend with her uncle where she turns the city upside down and more as all she wanted to do is ride the metro as its service is currently on strike. That’s pretty much all there is as it’s a film with very little plot as it all relates to this young girl named Zazie (Catherine Demongeot) who creates chaos in her surroundings as she often asks questions about everything around her. Yet, some of the adult figures she would meet would annoy her as she would in turn create hell for them. The film doesn’t have much of a script as it does have a few subplots as it relates to Zazie’s uncle (Philippe Noiret), a bar maid, a rich widow, an annoyed cop, and all sorts of characters whom Zazie would encounter and bring craziness to their lives.
Louis Malle’s direction is definitely stylish as he goes for something that seems to resemble elements of what can be described as a live-action cartoon. Much of it involves some very zany chase sequences where Zazie would steal a pair of blue jeans as a man chase her all over Paris as it’s among the slew of comical moments in the film. Malle definitely goes for something that feels loose as the city of Paris serves as a playground of sorts that includes some very off-the-wall moments shot on the Eiffel tower where Malle shoots on top of the elevators or other moments as if they’re doing dangerous things on that landmark. There’s also these moments that Malle creates with his usage of close-ups and medium shots that add to the sense of anarchy that is prevalent to the film that includes a chaotic party where the fourth wall is eventually broken. Overall, Malle creates a very sensational and insane film about a young girl turning Paris upside down in the span of a weekend.
Cinematographer Henri Raichi does amazing work with the film‘s very colorful cinematography to capture the beauty of the many locations in Paris as well as the lights for some of its nighttime scenes and some stylish ones for its interior settings. Editor Kenout Peltier does brilliant work by utilizing lots of stylish takes on jump-cuts to add a sense of energy as well as play to the film‘s offbeat humor. Production designer Bernard Evein does nice work with the set design with the look of the café that Zazie‘s uncle lives above at as well as the club where he works.
Costume designer Marc Doelnitz does excellent work with the costumes from the colorful clothes that Zazie wears to the stylish clothes of the adult characters. The sound work of Andre Hervee is superb for some of the sound effects that is created as well as the raucous atmosphere it creates in some of the film‘s crazier moments. The film’s music by Fiorenzo Carpi is fantastic for its very upbeat and bouncy orchestral score that plays to the film’s humor and sense of exuberance as it also features some low-key classical pieces and pop cuts.
The film’s phenomenal cast includes some notable small roles from Odette Piquet as Zazie’s mother, Antoine Roblot as a cab driver named Charles, Annie Fratellini as the barmaid Mado whom Charlie is in love with, Hubert Deschamps as the landlord who really doesn’t like Zazie, Yvonne Clech as a widow who falls for the cop, and. Jacques Dufilho as the shoemaker who lives next door to the café. Carla Marlier is wonderful as Zazie’s aunt Albertine who is a dressmaker while Vittorio Caprioli is amazing as the cop/salesman Trouscaillon who meets with Zazie as he becomes a victim of her own misadventures. Philippe Noiret is excellent as Zazie’s uncle Gabriel as a man who is trying to hide his line of work from Zazie while coping with the chaos surrounding him. Finally, there’s Catherine Demongeot in an incredible performance as Zazie as this curious and lively young girl who turns Paris into her own playground as she creates a lot of chaos while all she wants to do is to ride the Paris metro.
Zazie dans le metro is a spectacular film from Louis Malle. The film is truly an out-of-this-world comedy that isn’t afraid to be silly while providing laughs due to a young girl roaming around Paris. The film isn’t just one of Malle’s more accessible films but also a key film of the French New Wave that appeals to a very wide audience. In the end, Zazie dans le metro is a tremendously fun film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
