The Trial (1962 film)
The Trial is a dream-logic black comedy drama film directed by Orson Welles, who wrote the screenplay based on the novel of the same name by Franz Kafka. Filmed in Europe, Welles stated after completing the film: "The Trial is the best film I have made"; the film begins with Welles narrating Kafka's parable "Before the Law" to pinscreen scenes created by the artist Alexandre Alexeieff. Anthony Perkins stars as Josef K. a bureaucrat, accused of a never-specified crime, Jeanne Moreau, Romy Schneider, Elsa Martinelli play women who become involved in various ways in Josef's trial and life. Welles plays Josef's lawyer and the film's principal antagonist; the Trial has grown in reputation over the years, some critics, including Roger Ebert, have called it a masterpiece. It is praised for its scenic design and cinematography, the latter of which includes disorienting camera angles and unconventional use of focus. Josef K. is sleeping in an apartment he shares with other lodgers. He is awakened. Josef assumes the glib man is a policeman, but the intruder does not identify himself and ignores Josef's demand to produce police ID.
Several detectives tell Josef he is under open arrest. In another room Josef K. sees three co-workers from his place of employment. The police refuse to inform Josef K. of his misdeeds, or if he is being charged with a crime, they do not take him into custody. After the detectives leave, Josef converses with his landlady, Mrs. Grubach, neighbor, Miss Bürstner, about the strange visit, he goes to his office, where his supervisor thinks he has been having improper relations with his teenaged female cousin. That evening, Josef attends the opera, but is abducted from the theater by a police inspector and brought to a courtroom, where he attempts in vain to confront the still-unstated case against him. Josef returns to his office and discovers the two police officers who first visited him being whipped in a small room. Josef's uncle Max suggests that Josef consult with a law advocate. After brief encounters with the wife of a courtroom guard and a roomful of condemned men awaiting trial, Josef is granted an interview with Hastler, which proves unsatisfactory.
Hastler’s mistress suggests that Josef seek the advice of the artist Titorelli, but this proves unhelpful. Seeking refuge in a cathedral, Josef learns from a priest. Hastler abruptly appears at the cathedral to confirm the priest’s assertion. On the evening before his thirty-first birthday, Josef is apprehended by two executioners and brought to a quarry pit, where he is forced to remove some of his clothing; the executioners pass a knife back and forth deliberating on who will do the deed, before handing the knife to the condemned man, who refuses to commit suicide. The executioners leave Josef in the toss dynamite in the pit. Josef picks up the dynamite. From a distance there is an smoke billows into the air. In 1960, Welles was approached by producer Alexander Salkind to make a film from a public domain literary work. Salkind had wanted Welles to make Taras Bulba; when Salkind found out that producer Harold Hecht was making Taras Bulba with Yul Brynner in the lead, he offered Welles a list of 82 other film titles to choose from.
From that selection, Welles decided. Salkind promised that Welles would have total artistic freedom and he would not interfere with Welles’ creation. Welles and Salkind agreed to create a film based on the Franz Kafka novel The Trial, only to discover the text was not in the public domain and that they needed to obtain the rights to the property. Earlier that year, Michael Lindsay-Hogg, had casually mentioned an idea to Welles about adapting The Trial as a stage play, prompting Welles to state that The Trial was an important book and that he should re-read it. Salkind committed 650 million French francs to the budget for The Trial and secured backing from German and Italian investors. Welles took six months to write the screenplay. In adapting the work, he rearranged the order of Kafka’s chapters. In this version, the chapter line-up read 1, 4, 2, 5, 6, 3, 8, 7, 9, 10. However, the order of Kafka's chapters was arranged by his literary executor, Max Brod, after the writer's death, this order is not definitive.
Welles modernized several aspects of the story, introducing computer technology and changing Miss Burstner’s profession from a typist to a cabaret performer. Welles opened the film with a fable from the book about a man, permanently detained from seeking access to the Law by a guard. To illustrate this allegory, he used the pin screen animation of Alexandre Alexeieff, who created animated prints using thousands of pins. Welles changed the manner of Josef K.'s death. Kafka had the executioners pass the knife over the head of Josef K. thus giving him the opportunity to take the weapon and kill himself, in a more dignified manner - Josef K. does not, instead he is fatally stabbed by his executioners in the heart, as he dies Josef K. says "like a dog." In the film, whilst the executioners still offer him the knife, Josef K. refuses to take it, goads the executioners by yelling "You'll have to do it!" The film ends with the smoke of the fatal dynamite blast forming a mushroom cloud in the air while Welles rea
Stavisky... is a 1974 French film drama based on the life of the financier and embezzler Alexandre Stavisky and the circumstances leading to his mysterious death in 1934. This gave rise to a political scandal known as the Stavisky Affair, which led to fatal riots in Paris, the resignation of two prime ministers and a change of government; the film was directed by Alain Resnais and featured Jean-Paul Belmondo as Stavisky and Anny Duperey as his wife, Arlette. Stephen Sondheim wrote the film's musical score; the core narrative of the film portrays the last months in the life of Serge Alexandre, from late 1933 to January 1934. We see glimpses of his operations as a "financial consultant", setting up a mysterious company to deal in international bonds, his'laundering' of stolen jewellery, his juggling of funds to stave off the discovery of fraudulent bonds that he has sold through the Crédit Municipal in Bayonne. Interposed in the narrative are moments of flashback and flash-forwards. Punctuating the main story are scenes depicting the arrival of Trotsky in France to seek political asylum, his sojourn in various country houses and hotels, receiving visits from left-wing activists.
These scenes appear to have no link with the main narrative, until the end of the film when, in the wake of Stavisky's fall and exposure as a Ukrainian immigrant, a Jew, a confidant of members of the left-of-centre government, Trotsky's presence is deemed undesirable and he is expelled from the country, while a new'government of national unity' is formed. The death of Alexandre/Stavisky in a chalet in Chamonix becomes a further mystery: either a suicide by gunshot, like that of his father, or an assassination by the security forces to ensure his silence; the film began as a commission by Jean-Paul Belmondo to the screenwriter Jorge Semprún to develop a scenario about Stavisky. Resnais, who had worked with Semprún on La Guerre est finie, expressed his interest in the project. Semprún described the film as "a fable upon the life of bourgeois society in its corruption, on the collaboration of money and power, of the police and crime, a fable in which Alexander's craziness, his cynicism, act as catalysts".
Resnais said: "What attracted me to the character of Alexandre was his connection to the theatre, to show-business in general. Stavisky seemed to me like the hero of a serial novel, he had the gift of bringing reality to his fantasies by means of regal gestures." Location shooting took place in and around Paris and in Biarritz during autumn 1973. Resnais said that he wanted to film and edit the film in the way that a 1930s film-maker would have done it, using only the camera set-ups and movements that might have been seen in 1930, he acknowledged an influence from silent cinema in the way that intertitles were used. The first screening of the film was given at the Cannes film festival in May 1974. After this performance further distribution was delayed when Stavisky's son sought to have the film seized in a legal action against the producers of the film because of its depiction of the relationship between Alexandre Stavisky and his wife. Jean-Paul Belmondo as Serge Alexandre François Périer as Albert Borelli, Alexandre's dourly efficient and ever-present lawyer Anny Duperey as Arlette, Alexandre's glamorous wife Michel Lonsdale as Dr Mézy, Alexandre's physician and friend Claude Rich as Inspector Bonny, the relentless and not wholly disinterested investigator of Alexandre's frauds Charles Boyer as baron Raoul, a genial right-wing aristocrat who becomes Alexandre's loyal friend Niels Arestrup as RudolphGérard Depardieu appears in a small role, the first of his several performance for Resnais, as a young inventor of the Matriscope, a device for determining the sex of a child in the womb, to which Alexandre impulsively gives his financial backing.
With its high production-values and the popularity of its star actor, the film was enthusiastically received by the public in France, whereas for the same reasons, it drew a cool response from many critics who felt that Resnais had betrayed his reputation for intellectual rigour. A British reviewer expressed several of the doubts which were felt by critics: "No one could fail to respond to the elegance of the fashion-plate costumes, the Art Deco interiors, the gleaming custom-built c
Is Paris Burning? (film)
Is Paris Burning? is a 1966 French-American epic historical war film directed by René Clément, starring an ensemble cast, about the liberation of Paris in August 1944 by the French Resistance and the Free French Forces during World War II. The script was based on the book of the same title by Dominique Lapierre. Shortly after the failed 1944 20 July plot to assassinate him, Adolf Hitler, appoints General Dietrich von Choltitz as military governor of occupied Paris. Hitler believes Choltitz will obey his order that the Allies should not be allowed to capture Paris without the Germans destroying it similar to the planned destruction of Warsaw; the French Resistance learn that the Allies are not planning to take Paris, but are heading straight to Germany instead. The two factions within the Resistance react to this news differently; the Gaullists under Jacques Chaban-Delmas want to wait and see, while the Communists under Colonel Rol-Tanguy want to take action. The Communists force the issue by calling for a general uprising by the citizens of Paris and by occupying important government buildings.
The Gaullists go along with this plan of action. Choltitz is intent on following Hitler's order to level the city. After his troops fail to dislodge the Resistance from the Prefecture of Police, he orders the Luftwaffe to bomb the building but withdraws the order at the urging of the Swedish Consul, Raoul Nordling, who points out that bombs that miss the Prefecture risk destroying nearby culturally invaluable buildings such as the Notre Dame Cathedral. Choltitz accepts a truce offer from the Resistance, but the Communists want to keep on fighting, in spite of a lack of ammunition; the truce is, shortened to one day and the fighting resumes. After learning that the Germans plan to destroy Paris, a messenger from the Resistance is sent across enemy lines to contact the Americans, he informs the Allies that the Resistance has taken control of parts of the city and implores them to provide support to prevent the uprising being crushed as was happening in Warsaw. He adds. Afterwards General Omar Bradley gives the 2nd Armored Division under General Philippe Leclerc the go-ahead to rush on Paris.
As the military situation deteriorates, Choltitz delays the order to destroy Paris, believing that Hitler is insane and that the war is lost, making the destruction of Paris a futile gesture. He chooses instead to surrender shortly; as the Free French Forces and De Gaulle parade down the streets of Paris, greeted by cheering crowds, a phone receiver off the hook is seen with a voice in German asking "Is Paris burning?" From the air, Paris is seen, its buildings still intact and standing. The film is based on the best-selling book by Larry Collins and Dominique Lapierre and was directed by René Clément, from a screenplay by Gore Vidal and Francis Ford Coppola; the music is by Maurice Jarre. Jarre's music for "The Paris Waltz" had words added by Maurice Vidalin and became a patriotic anthem sung by Mireille Mathieu under the title Paris en colère. Is Paris Burning? Stars Kirk Douglas, Glenn Ford, Gert Fröbe, Orson Welles, Anthony Perkins, Robert Stack, Charles Boyer, Yves Montand, Leslie Caron, Jean-Paul Belmondo, Simone Signoret and Alain Delon.
The production was filmed in 180 sites. Claude Rich plays two parts: General Leclerc, with a moustache, Lt Pierre de la Fouchardière, without a moustache, he is credited at the end only with the part of Leclerc. His role as the young lieutenant is not by chance: Claude Rich, as a teenager, was watching soldiers in the street when the real-life Pierre de la Fouchardière called him into a building to protect him; the film is entirely in black and white to better blend the documentary stock footage, included in the film. The film was shot in black and white because, although the French authorities would allow Nazi swastika flags to be displayed on public buildings for key shots, they would not permit those flags to be in their original red color. However, the closing credits feature aerial shots of Paris in color; the entire film was shot on location in Paris. As the film had a predominately French cast, all sequences featuring French and German actors were filmed in their native French and German languages, dubbed into English, while all the sequences with the American actors were filmed in English.
The film was the fourth most popular movie of the year in France in 1966. The film was nominated for two Academy Awards: Best Art Direction Best Cinematography The film was spoofed in Mad magazine, in the September 1967 issue, under the title "Is Paris Boring?" Larry Collins and Dominique Lapierre, Is Paris Burning?, New York: Pocket Books, 1965. Is Paris Burning? on IMDb Is Paris Burning? at Le Film Guide
The César Award is the national film award of France. It is delivered in the Nuit des César ceremony and was first awarded in 1976; the nominations are selected by the members of twelve categories of filmmaking professionals and supported by the French Ministry of Culture. The nationally televised award ceremony is held in the Théâtre du Châtelet in Paris each year in February, it is an initiative from the Académie des Arts et Techniques du Cinéma, founded in 1975. The César Award is considered the highest film honor in France, the French film industry's equivalent to the Molière Award for theatre, the Victoires de la Musique for music. In cinema, it is the French equivalent to the Academy Award; the award was created by Georges Cravenne, the creator of the Molière Award for theatre. The name of the award comes from the sculptor César Baldaccini; the 44th César Awards ceremony took place on 22 February 2019. Custody, directed by Xavier Legrand, won the award for Best Film. In 1974, Georges Cravenne founded the Academy of Arts and Techniques of Cinema that was, from the outset, intended to reward the achievements and the most remarkable film artwork, to have a French equivalent to the American Oscars.
The first César Awards – known as the "Night of Caesar" – were held on 3 April 1976 under the chairmanship of Jean Gabin who watched the ceremony from the front row seated in a wheelchair a few months before his death. The name of the award comes from the sculptor César, designer of the trophy awarded to the winners in each category, it is an homage to the Raimu, the great French actor and performer of Marseille trilogy of Marcel Pagnol, in which Raimu played the character of César. The César Awards replaced the Étoile de cristal, awarded from 1955 to 1975. Other prizes had been awarded to French cinema in the past. From 1934 to 1986, the Grand prix du cinéma français, established by film pioneer Louis Lumière, was given to one film a year. In the 1950s, the Victoire du cinéma français was awarded each June. Lacking popular enthusiasm compared to the Étoile de cristal, this award was discontinued after 1964. At the inaugural César Awards, 13 awards were distributed. Today, there are 22. Categories added in recent years include Most Promising Actor/Actress, Best Documentary and Best Animated Film, while awards honoring the best film poster and best producer have been dropped, as they are now given at a sister ceremony, the Prix Daniel Toscan du Plantier.
Voting for César Awards is conducted through two ballots by mail: the first to establish nominations per category, the second to decide the winner. Voters are professionals in the field, divided into 12 colleges; the criteria for voting are: demonstrate a consistent career in film and get a double sponsorship in the Académie des arts et techniques du cinéma. Nominees or winners of the previous editions are exempt from these formalities. To aid voters, the Académie identifies each year films released in France and provides a guide to the works and eligible professionals. A DVD set of French or French productions produced during the year is sent in December with the catalog of films to the electors. After the nominations are revealed, at the end of January, special screenings of the nominated films are shown at the Le Balzac cinema in Paris, near the Champs-Élysées; each year, a special lunch for nominees is held at the famous Fouquet's restaurant on the Champs-Élysées, a few weeks before the ceremony.
Honorary Award - since 1976 César des Césars - between 1985 and 1995 Prix Daniel Toscan du Plantier - since 2008 Trophée César & Techniques - since 2011 Médaille d'Or - only in 2015 César & Techniques Special Award - only between 2015 and 2017 César & Techniques Innovation Award - since 2018 César du public - since 2018 Best Film from the European Union Best Poster Best Producer Best Writing Best French Language Film Best Documentary Short Best Fiction Short Best Animated Short The Last Metro Best Film: The Last Metro Best Director: François Truffaut Best Actor: Gérard Depardieu Best Actress: Catherine Deneuve Best Writing: Suzanne Schiffman and François TruffautAmour Best Film: Amour Best Director: Michael Haneke Best Actor: Jean-Louis Trintignant Best Actress: Emmanuelle Riva Best Writing: Michael Haneke Four awards won Smoking/No Smoking: Best Actress Too Beautiful for You: Best Actor Three awards won Cyrano de Bergerac: best Actress and Writing Same Old Song: best Actress and Director Academy Awards British Academy Film Awards Lumières Award Louis Delluc Prize Magritte Award Official website César Award on IMDb
Of Gods and Men (film)
Of Gods and Men is a 2010 French drama film directed by Xavier Beauvois, starring Lambert Wilson and Michael Lonsdale. Its original French language title is Des hommes et des dieux, which means "Of Men and of Gods" and refers to a verse from the Bible shown at the beginning of the film, it centers on the monastery of Tibhirine, where nine Trappist monks lived in harmony with the Muslim population of Algeria, until seven of them were kidnapped and assassinated in 1996 during the Algerian Civil War. A tale of a peaceful situation between local Christians and Muslims before becoming a lethal one due to external forces, the screenplay focuses on the preceding chain of events in decay of government, expansion of terrorism, the monks' confrontation with both the terrorists and the government authorities that led up to their deaths. Principal photography took place at an abandoned monastery in Morocco; the film premiered at the 2010 Cannes Film Festival where it won the Grand Prix, the festival's second most prestigious award.
It became a critical and commercial success in its domestic market, won both the Lumières Award and César Award for Best Film. The film opens with a quotation from the Book of Psalms, Psalm 82:6–7: "I have said, Ye are gods, but ye shall die like men, fall like one of the princes." The monks' peaceful routine of prayer, medical assistance, community interaction is soon interrupted by the threat of an Islamic fundamentalist group. When their elected leader, declines the protection of the corrupt civil authority, the monks divide amongst themselves on the question of whether to stay or flee Algeria. Before a decision is reached, a group of fundamentalists, led by Ali Fayattia, enters the monks' compound in force on Christmas Eve and demands their doctor and his medical supplies. Christian cites the Quran as proof of the monks' goodwill. With a mixture of surprise and respect, Fayattia leaves the compound and grants it his protection until his capture and death at the hands of government forces.
Despite the growing danger, the monks come to consensus on the moral importance of maintaining their committed lives with, ministry to, the local population when faced with violence and death. The terrorists seize most of the monks during a nighttime raid and hold them hostage; as the captive monks trudge a snowy path towards a grim fate, the film concludes with the spiritual testament of Prior Christian de Chergé, bravely written in the face of death. Lambert Wilson as Christian Michael Lonsdale as Luc Olivier Rabourdin as Christophe Philippe Laudenbach as Célestin Jacques Herlin as Amédée Loïc Pichon as Jean-Pierre Xavier Maly as Michel Jean-Marie Frin as Paul Abdelhafid Metalsi as Nouredine Sabrina Ouazani as Rabbia Abdallah Moundy as Omar Olivier Perrier as Bruno Farid Larbi as Ali Fayattia Adel Bencherif as the terrorist In 1996, seven French Trappist monks from the monastery of Tibhirine, were kidnapped and found beheaded; the Armed Islamic Group of Algeria claimed full responsibility for the incident.
However, according to documents from French secret services, it is possible that the killings were a mistake carried out by the Algerian army during a rescue attempt. A scholarly book on the events was published in 2002, John W. Kiser's The Monks of Tibhirine: Faith and Terror in Algeria; the film project was initiated by Etienne Comar in 2006, when the tenth anniversary of the incident made it a topic again in French media. Comar, a film producer by profession and a Catholic, had been fascinated by the monks since the earliest news of the abduction, but felt that their death had overshadowed what he thought was interesting: why they had decided to stay in Algeria despite the ongoing Algerian Civil War. Comar contacted Xavier Beauvois in 2008 after having written a draft, together they continued to work on the screenplay; the two researched, met with theologians, during a break Beauvois chose to live for six days at the Tamié Abbey in Savoie. Some inspiration was taken from writings by two of the Tibhirine monks, Christian de Chergé and Christophe Lebreton.
Franco-American monastic consultant Henry Quinson was asked to correct and add historical and liturgical content for further authenticity. The script was sent to relatives of the deceased monks, most of whom reacted positively to the project; the financing coincided with the revelation of the Algerian army's possible involvement in the incident, which once again sparked an interest for the story from media and the public. Production was led by Why Not Productions with France 3 as co-producers. Financial support was granted by the CNC; the budget was €4 million euro. As preparation for their roles, François Polgar, the former assistant director of the choir of the Paris Opera, former director of Le Chœur de Radio France and director of The Paris Boys Choir, trained for a month the actors who were to play monks in the Cistercian and Gregorian chants; each actor spent a week living as a monk at the Tamié Abbey. The actors used different approaches to their individual roles. Lambert Wilson used Christian de Chergé's writings to develop a subjective perception of the monk's personality.
Xavier Maly, a non-Catholic, prepared himself by praying every day for a month. Jean-Marie Frin based his interpretation on a home video from Paul Favre-Miville's vow. Michael Lonsdale on the other hand preferred to rely on instinct, did not prepare much at all. Filming started in early December 2009 in Meknes and ended two months later; the main filming location was the Benedictine monastery of Toumliline, which had stood unused and unattended for more than 40 years. The film team, und
Murmur of the Heart
Murmur of the Heart is a 1971 French film by French director Louis Malle and starring Lea Massari, Benoît Ferreux and Daniel Gélin. Written as Malle's semi-autobiography, the film tells a coming of age story about a 14-year-old boy growing up in bourgeois surroundings in post-World War II Dijon, with a complex relationship with his Italian mother; the film was a box office success in France. In the United States, it received positive reviews and a nomination for the Academy Award for Best Original Screenplay. Laurent Chevalier is a nearly 15-year-old boy living in Dijon in 1954 who loves jazz, always receives the highest grades in his class and who opposes the First Indochina War, he has an unloving father Charles, a gynecologist, an affectionate Italian mother and two older brothers and Marc. Thomas and Marc are notorious pranksters, while Laurent engages in taboos such as shoplifting and masturbation. Laurent witnesses Clara meeting with a lover, upset with the adultery, runs to tell Charles.
Charles, busy with his practice, angrily turns him away. One night and Marc take Laurent to a brothel, where Laurent loses his virginity to a prostitute, before they are disrupted by his drunken brothers. Upset, Laurent leaves on a scouting trip, where he catches scarlet fever and is left with a heart murmur. Laurent is bedridden and entertained by Clara and their maid Augusta. Laurent's teacher at his Catholic school suggests that Laurent's illness has matured him, so that he has made progress in his studies, urges Clara to treat him more like an adult; as Laurent requires treatment at a sanatorium, he and Clara check into a hotel. Due to an error by Charles' secretary Solange, the hotel books one room for both Clara and Laurent, given the hotel is full, hotel staff cannot offer an additional room. Laurent takes interest in two young girls at the hotel, Hélène and Daphne, spies on his mother in the bathtub. Though Laurent pursues Hélène, Hélène says. Clara temporarily leaves with her lover, but comes back distraught after their breakup, is comforted by her son.
After a night of heavy drinking on Bastille Day and Clara have sex. Clara tells him afterwards that this incest will not be repeated, but that they should not look back on it with remorse. Afterwards, Laurent leaves their room, after unsuccessfully trying to seduce Hélène, spends the night with Daphne. Director Louis Malle wrote Murmur of the Heart in part as an autobiography; as Malle said, "My passion for jazz, my curiosity about literature, the tyranny of my two elder brothers, how they introduced me to sex— this is pretty close to home." Malle suffered from a heart murmur and shared a hotel room with his mother during treatment. Aside from this, the film is a work of fiction, takes place than Malle's true childhood; the humorous and earthy Italian mother is a fictional character, based more on a friend's mother than his own. Malle asserted in interviews, he claimed that in writing the script, he had no intention to include incest, but ended up doing so as he explored an intense mother-son relationship.
Upon submitting his screenplay, the National Center of Cinematography raised objections to the perverse erotic scenes. Malle was surprised by the response. With the Censorship Board denying funding, the film was financed with the help of Mariane Film, a French subsidiary of Paramount Pictures. Given his love of jazz, the fact that Laurent steals a Charlie Parker album at the beginning of the film, Malle employed Parker for the film score. In France, the film had 2,652,870 admissions, it was screened at the Cannes Film Festival in May 1971 and played at the New York Film Festival in October 1971. On its re-release in the United States in 1989, it grossed US$1,160,784. In Region 1, The Criterion Collection released the film on DVD in 2006, along with Malle's other films Lacombe, Lucien and Au Revoir les Enfants. Roger Ebert gave the film a four-star review, comparing it favourably to The 400 Blows, writes that with the incest, Malle "takes the most charged subject matter you can imagine, mutes it into simple affection."
Judith Crist, writing for New York, praised the "remarkable" performances from Lea Massari, Benoît Ferreux and Daniel Gélin. Richard Schickel, writing for Life, said he had a "strange enthusiasm" for the film, which he felt demonstrated "taste and the most winning sentiment." Variety staff complimented Massari's performances. Roger Greenspun wrote a negative opinion in The New York Times, claiming "it isn't good" and "that it could have been made with as much distinction by any of those directors, all anonymous, who specialize in urban romantic comedy of a sophistication, supposed to be peculiarly French."In 1989, Desson Howe wrote in the Washington Post that the film maintained its "fresh intelligence and delicacy" and "Malle's world of sarcastic, upper-middle-class brats seems to be Murmur's most enduring creation." In 1990, Richard Stengel gave the film an A- in Entertainment Weekly, writing "Almost everything about this coming-of-age story rings true, Malle avoids any heavy-handed explanations of family behavior."
Critic Pauline Kael called Massari "superb." In his 2002 Movie & Video Guide, Leonard Maltin gives the film three and a half stars and calls it a "fresh, affectionately comic tale."US director Wes Anderson cited Murmur of the Heart an influence, saying he loved the characters Laurent and Clara. Regarding the incest, he says, "The stuff between him and the mother feels more kind of romanti
India Song is a 1975 French drama film directed by Marguerite Duras. India Song stars Delphine Seyrig, Michael Lonsdale, Mathieu Carrière, Claude Mann, Vernon Dobtcheff and Didier Flamand; the film centres on Anne-Marie, the promiscuous wife of the French ambassador in India, was based on an unproduced play written by Duras. Although set in India, the film was shot on location in a mansion in Paris; the film was followed by a sequel Son nom de Venise dans Calcutta désert in 1976. Anne-Marie Stretter is the wife of the French ambassador in India in the 1930s. Growing bored with the oppressive lifestyle she leads, she begins to compulsively sleep with other men to alleviate her situation; the Vice-Consul of Lahore fails in his attempts to begin a love affair with her. Her husband is tolerant of her promiscuity; the script for India Song was based on an unproduced play which Marguerite Duras finished in July 1972. The play had been commissioned for the Royal National Theatre by Peter Hall. Duras had only visited India in her teens, but chose to not watch any photographs from Calcutta while she worked on India Song, preferring to imagine it all.
The film cost 254,542 francs to produce, of which 250,000 came from the CNC. Dominique Sanda was the first choice for the leading role, but dropped out and was replaced by Seyrig. Finding the main location took several months; the Rothschild family had abandoned the building after World War II and it had started to dilapidate. Other scenes were shot at the Grand Trianon in Versaille, in two Paris apartments which were about to be demolished. Filming lasted two months; the voices were pre-recorded. India Song was shown as part of the 1975 New York Film Festival, was shown out of competition at the 1975 Cannes Film Festival, it was released in France on June 4, 1975. Vincent Canby, writing for The New York Times, reviewed the film in a negative light, finding that it was aesthetically pleasing but shallow. Canby described India Song as "no content and all style", although he felt that Seyrig's portrayal of Anne-Marie was "marvelous to contemplate". Clarke Fountain, reviewing the film for Allrovi, rated it four out of five stars.
India Song was nominated for three César Awards in 1976—Best Music Written for a Film for Carlos d'Alessio, Best Sound for Michel Vionnet, Best Actress for Delphine Seyrig. However, the film did not win in any of the nominated categories, it was France's submission for Best Foreign Language Film at the 48th Academy Awards, but did not receive a nomination. Today the film is seen more favourably by critics and it is included in the book 1001 Movies You Must See Before You Die, where Travis Crawford cites it as the director's best film, describing the film as "fascinating" in its use of language and sound in contrast to imagery, calling it an "elliptical dream poem rather than linear narrative". However, he acknowledges that opinions are markedly divided on the film and that viewers will either find it "hypnotically seductive or maddeningly pretentious". Michael Lonsdale considers his part to be his "most favorite role", adding that "it helped me exorcise the suffering I was going through at the time in my personal life".
1975 in film Cinema of France List of French submissions for the Academy Award for Best Foreign Language Film List of submissions to the 48th Academy Awards for Best Foreign Language Film Notes BibliographyAdler, Laure. Marguerite Duras: a life. London: Victor Gollancz Ltd. pp. 292–295. ISBN 0-575-06770-5. India Song on IMDb