L’Illusionniste, 2010
(Source: nana-moon)
Italian vinyl record Mio Zio/Mon Oncle.
Designed by Pierre Etaix.
Brief Encounter - railway carriage scene
“…. I stared out of that railway carriage window into the dark and watched the dim trees and the telegraph posts slipping by. And through them, I saw Alec and me. Alec and me, perhaps a little younger than we are now but just as much in love and with nothing in the way. I saw us in Paris, in a box at the opera. The orchestra was tuning up. Then we were in Venice, drifting along the Grand Canal in a gondola with the sound of mandolins coming to us over the water. I saw us traveling far away together, all the places I’ve always longed to go. I saw us leaning on the rail of a ship looking at the sea and stars, standing on a tropical beach in the moonlight with the palm trees sighing above us. Then the palm trees changed into those pollarded willows by the canal just before the level crossing. And all the silly dreams disappeared. And I got out at Ketchworth and gave up my ticket and walked home as usual, quite soberly and without dreams, without any wings at all.”
Laura Jesson: “This can’t last. This misery can’t last. I must remember that and try to control myself. Nothing lasts really. Neither happiness nor despair. Not even life lasts very long. There’ll come a time in the future when I shan’t mind about this anymore, when I can look back and say quite peacefully and cheerfully how silly I was. No, no, I don’t want that time to come ever. I want to remember every minute, always, always to the end of my days.”
(Polish movie poster, flabbergasting)
I don’t watch many romantic movies, but this one stands the test of time, time and time again.
1945. David Lean.
Overwhelming emo-class ditto soundtrack, and with the best hidden McGuffin of all times (.)
The British ‘stiff upper lip’-class has never been highlighted in such a subtle and (cine)magnificent way. And chances are slim such a masterpiece will be made again. Chances are zero a grit will have similar results again.
(via framesinmemories)
“Mr. Hulot is full of grace; he is a kind of angel, and the disorder that he brings is one filled with freedom and exuberance as well as compassion.”
André Bazin on Les Vacances de Mr. Hulot.
“Demandez-vous d’où vient, à la fin des Vacances de Monsieur Hulot, cette grande tristesse, ce désenchantement démesuré, et vous découvrirez peut-être que c’est du silence. Tout au long du film, les cris des enfants qui jouent accompagnent inévitablement les vues de la plage, et pour la première fois leur silence signifie la fin des vacances.”
André Bazin, 1953
(Source: facebook.com)
Barbara Dennek in Playtime, 1967
Les interactions de M. Hulot: The glass door part two; “kill your darlings”
While the shattered glass is swept up, the door handle is held by M.Hulot, who now acts as a doorman. The couple entering the restaurant doesn’t even notice the missing door.
Based on this example you can make a case for the value of A/B testing (a method of testing used to compare the…
Through a series of photographs in black and white, Pierre Etaix - actor and director born in 1928 - pays tribute to the great film comedians who have drawn their inspiration from the circus tradition as Buster Keaton, Charlie Chaplin, Laurel and Hardy and The Marx Brothers. Legend: Buster Keaton.
A travers une série de photographies en noir et blanc, Pierre Etaix - acteur et réalisateur né en 1928 - rend hommage aux grands comiques du cinéma qui ont puisé leur inspiration dans la tradition du cirque comme Buster Keaton, Charlie Chaplin, Laurel et Hardy et Les Marx Brothers. Légende : Buster Keaton.
(Source: facebook.com)
Pierre Etaix, Buster Keaton (wooden sculpture)
Por causa de Jacques Tati
Ei, tu aí,
Jacques Tati!
Onde estás?
Aqui, aqui, Jacques Tati.
Eu aqui, tu aí,
Jacques TatiConvers…
Playtime & Trafic screenings in Brazil…..
L’Écran français n° 323, dos.
Les Vacances de Monsieur Hulot
Cemetery scene from Les Vacances de Monsieur Hulot.
