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Stories of Sin and Survival: Henri-Georges Clouzot’s "Le corbeau" & "Quai des orfèvres"

  • MUBI
Henri-Georges Clouzot's Le corbeau (1943) is showing November 20 – December 19, and Quai des orfèvres (1947) from November 21 – December 20, 2018 on Mubi in the United States.Henri-Georges ClouzotOn September 3, 1939 France, alongside Great Britain, declared war on Germany. As pronounced May 8, 1945 by Charles de Gaulle, president of the Provisional Government of the French Republic, Europe’s World War II conflict was over. Between these years, years that saw the demoralizing German occupation of de Gaulle’s homeland, battle lines were heartily affirmed and mightily preserved. There was, in this tumultuous time, little room for partisan ambiguity—it was a black and white world of Allied and Axis powers, of us versus them. Within this context of chaos and violence, Niort-born Henri-Georges Clouzot advanced his filmmaking career, beginning with screenwriting efforts in the early 1930s and progressing to his first feature as a solo director, L’assassin habite... au 21 (The Murderer Lives at Number 21). Released in
See full article at MUBI »

Starmaker Allégret: From Gay Romance with 'Uncle' (and Nobel Winner) Gide to Simon's Movie Mentor

Marc Allégret: From André Gide lover to Simone Simon mentor (photo: Marc Allégret) (See previous post: "Simone Simon Remembered: Sex Kitten and Femme Fatale.") Simone Simon became a film star following the international critical and financial success of the 1934 romantic drama Lac aux Dames, directed by her self-appointed mentor – and alleged lover – Marc Allégret.[1] The son of an evangelical missionary, Marc Allégret (born on December 22, 1900, in Basel, Switzerland) was to have become a lawyer. At age 16, his life took a different path as a result of his romantic involvement – and elopement to London – with his mentor and later "adoptive uncle" André Gide (1947 Nobel Prize winner in Literature), more than 30 years his senior and married to Madeleine Rondeaux for more than two decades. In various forms – including a threesome with painter Théo Van Rysselberghe's daughter Elisabeth – the Allégret-Gide relationship remained steady until the late '20s and their trip to
See full article at Alt Film Guide »

Jean Grémillon: Realism and Tragedy

  • MUBI
Translators introduction: This article by Mireille Latil Le Dantec, the first of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.

Filmmaker maudit?
See full article at MUBI »

‘Le Corbeau’ explores the gray areas of morality

Le Corbeau

Directed by Henri-Georges Clouzot

Written by Louis Chavance and Henri-Georges Clouzot

Starring Pierre Fresnay, Ginette Leclerc, and Pierre Larquey

France, 92 min – 1943.

Henri-Georges Clouzot’s Le Corbeau is a witch hunt. The site of this “hunt” is a small French town. A mysterious person has begun airing out the town’s immoral actions and secrets, in the form of letters, signed as “Le Corbeau” (the raven). The victim of these letters is Dr. Remy Germain (Pierre Fresnay), who is accused of performing abortions and having affairs with fallen women and married women alike. The townspeople ostracize Dr. Germain and others named by the raven. However, when a single letter causes the death of a hospital patient, townspeople mob against the likeliest culprits, all to save their community from slinking into the gray areas of morality.

One of the historically discussed themes of Le Corbeau deals with morality. It shows
See full article at SoundOnSight »

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