But even Rene Clement was shooting in the streets of London four years before the New Wave with “Monsieur Ripois” and had done that in 1944 with “La Bataille du Rail.” It’s very difficult to say those people were the first, but at least they opened windows. In the mid ‘50s, the French cinema was stiff, heavily written and studio bound. They were doing a certain kind of film but they were forgetting things that were dealt with before them. The only films dealing with abortion from that period were made by Claude Autant-Lara. They were not interested by everything about women. They were not interested in history, period films or the politics of the time. They brought things, but there were also subjects they never dealt with, contrary to the directors before then. Michael Powell was a revolution in himself. Bresson was incredibly revolutionary. The New Wave, in a way, was revolutionary because it brought the cinema of the first person, but the British had done that first: Karel Reisz, Lindsay Anderson. Renoir and Duvivier, in the ‘30s, were revolutionaries. "The Passenger: Bertrand Tavernier on "My Journey Through French Cinema": Our Steve Erickson interviewed Tavernier about his 2017 documentary.Įvery movement, when they are doing great films, are revolutionaries. This special edition of Thumbnails celebrates Bertrand Tavernier. We provide links to the original sources for you to read in their entirety. Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting.
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