One of those crime films with the deep shadows, the chiaroscuro and accompanying shades of moral greyness, that distinguishes film noir, in which all the inhabitants of a small town are brought into conflict by a mysterious letter writer, whose identity gets pinned to any number of people throughout the film, and whose accusations get steadily more unnerving. Clouzot is most interested, it seems, in the way that ‘decent’ people can have their judgement clouded, and become the enemies of other ‘decent’ people, ultimately suggesting perhaps that everyone has base motivations. Given that it was made under German occupation, it’s not a stretch to suggest that Clouzot — if not uncomplicatedly making an anti-Nazi film — is at least not willing to let anyone off the hook for what humanity is capable of.
FILM REVIEW: Criterion Collection Director Henri-Georges Clouzot | Writers Louis Chavance and Clouzot | Cinematographer Nicolas Hayer | Starring Pierre Fresnay, Micheline Francey, Ginette Leclerc | Length 93 minutes || Seen at a friend’s home (DVD), London, Sunday 9 September 2018
Orpheus is surely French artist Jean Cocteau’s most famous film; it is justly acclaimed, and it might even be his best (though I have enormous fondness for Testament of Orpheus, his last). I’ve seen it many times now, on the cinema screen and at home, though its sense of forbidding poetic mystery is still strong enough that the idea of putting my feelings into words delayed me writing up this review. Maybe, then, it’s best if I just leave it at some disjointed scraps of feeling and that Criterion cover art. Cocteau’s long-term partner and muse, Jean Marais, plays the poet (Orpheus of course) and though he is married to Eurydice, who figures in the story, it feels far more like a film about Orpheus and his relationship to Death, the ravishing and mysterious Princess who shows up at the film’s start flanked by another poet, and who is played by her usual intensity by María Casares. It’s a film of images, like the eerie motorcycle riders dressed fetishistically in black leather, or the ruined city of the underworld, of reverse photography (a real throughline in all Cocteau’s filmmaking) rendering the ordinary strange, and of mirrors as shimmering, watery portals to other realms. I’ll no doubt watch the film again, and, like the avant garde poetry which recurs on the soundtrack, only dimly perceive what’s going on, but it’s the feeling the film inspires which endures.
FILM REVIEW: Criterion Collection Director/Writer Jean Cocteau | Cinematographer Nicolas Hayer | Starring Jean Marais, María Casares, François Périer | Length 95 minutes || Seen at Tate Modern, London, Sunday 28 March 2004 (and on VHS at home, Wellington, March 1999, and most recently on DVD at home, London, Sunday 13 December 2015)
RE-RELEASE FILM REVIEW Seen at BFI Southbank (NFT3), London, Saturday 3 January 2015
I have this feeling that among the famous auteurs of the French New Wave, Éric Rohmer is the one most apt to be overlooked. Perhaps it’s that he lacks a really stand-out work (although 1969’s Ma nuit chez Maud gave him some of his initial success), or that his directorial style avoids much of the flashiness of his contemporaries. His film career, too, took a little longer to take hold, not least because he was heavily involved as editor of the influential Cahiers du cinéma film journal in the early part of the 1960s. Certainly, his debut feature film, produced in 1959, the same year as the other notable debuts of Truffaut and Godard, was delayed in its release for a number of years, and never really attained the same kind of either critical or commercial success. But this is all a bit unfair to the film, which has plenty to recommend it. Le Signe du lion is a beautiful evocation of Paris with a great sense of place (Rohmer always seemed to have the most knack for capturing the spirit of wherever he was filming), shot in luminous black-and-white in some iconic settings along the river and around the Saint-Germain-des-Prés.