By Colin Crisp
This precious source through one of many world’s major specialists in French cinema provides a coherent assessment of French cinema within the twentieth century and its position and serve as in French society. every one filmography comprises one hundred and one movies indexed chronologically (Volume 1: 1929–1939 and quantity 2: 1940–1958) and offers obtainable issues of access into the notable international of 20th-century French cinema. All entries include a listing of solid individuals and characters, creation info, an summary of the film's cultural and historic importance, and a severe precis of the film's plot and narrative constitution. each one quantity contains an appendix directory rewards earned and an in depth reference checklist for extra analyzing and learn. a 3rd quantity, masking the interval 1958–1974, is drawing close.
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Additional resources for French Cinema: A Critical Filmography, Volume 1: 1929–1939
Sample text
3. L’Âge d’or (The Golden Age) France, 1930, 65 min; b&w Dir Luis Buñuel; Asst dir Jacques-Bernard Brunius and Claude Heymann; Prod Vicomte de Noailles; Scr Luis Buñuel and Salvador Dalí;7 Cinematog Albert Duverger; Music Georges van Parys and works of Mendelssohn, Mozart, Beethoven, Debussy, and Wagner, as well as a paso doble; Art dir Pierre Schildknecht; Sound Peter-Paul Brauer; Edit Luis Buñuel; Act Gaston Modot (the lover), Lya Lys (the Marquise’s daughter), Max Ernst (bandit chief), Pierre Prévert (a bandit); also Germaine Noizet, Lionel Salem, Duchange, Caridad de Lamberdesque, Llorens Artigas, Brunius, Valentine Hugo, and Paul Éluard.
In it Grémillon exploited the newly introduced RCA photophone process to develop a number of ambitious sonorization procedures. The whole first “act” of the film is set in a French Guiana jail, where Berthier has been granted a reprieve for his bravery in recent events, so opts out of an escape planned by his fellow prisoners. The soundtrack begins before the titles, with a bass chord and a ticking sound that evolve as the images open into an African-themed chant. The prisoners are being herded back into prison.
The Introduction of Sound 29 roles. Pujol participated in several films figuring later in this book, notably Théo dore et Cie (#24) and the Fernandel vehicle Tricoche et Cacolet (#80), both directed, as was this film, by Colombier, as well as Si j’étais le patron (#33) and the Tino Rossi vehicle Marinella. Milton, for whom he wrote this script, was short, plump, balding, bouncy, a clown, singer, and acrobat who came to the cinema from cabaret and music halls. A “resquilleur” is an uninvited guest, a gate-crasher, and he made that role his own in a number of films.