https://open.spotify.com/track/1rZUvvrb11470D3KltbZu2?si=20f275b1317944cb
Recommended if you like Jon Spencer Blues Explosion
Tag Archives: foie gras
Lumière d’été [1943)
The page you requested attempted to redirect to itself, which could cause an infinite loop.
Indeed.
This is one of the finest films of all time.
And yet it is foie gras in the English-speaking world.
Fois gras. Fat time. temps de graisse++
Father time. Vater.
If there can be a French kiss, then can there also be a French love?
Is that not redundant?
No, I don’t think it is.
Even if the French “invented” love.
And the fifth element…quintessential.
Weird film.
Unlike any other culture the French.
Madeleine Renaud is the spitting image of Hillary Clinton. And just as craven.
Madeleine Robinson makes us drown in our own tears…with her Ophelia hair.
Madeleine, er…rather, Pierre Brasseur is a bastard, but a hell of an actor.
He plays on Duchamp. Yves Klein. And prefigures both.
Étant donnés. Finished in 1966?
And begun in 1946…the year before the Black Dahlia murder.
[in exactly the same pose]
Maybe not.
But Paul Bernard is the biggest bastard of all.
A cuckoo sniper.
Remember the Beltway sniper attacks?
A quick perusal leads to only one possibility: strategy of tension.
And look at the world news.
Remember China’s accession to the WTO in October 2001.
[before the smoke of 9/11 had cleared]
Literally.
Even the cable guys know this.
But I guy dress.
I most humbly submit the case of Mr. Tojamura.
What we have here is Opération béton 12 years early.
Work.
And love.
And so many cuckoo personages.
You must watch this film to see film language be broken so immaculately.
We would expect nothing less (nor more) from occupied France.
-PD
Les Enfants terribles [1950)
The past is hidden.
My friend.
You must find the magical words.
Which fit like teeth in combs.
A lock clicks with greasy precision.
A marvel of craftsmanship.
Two siblings in love.
A prolonged insult.
From the start it is as a homoerotic phantasm.
But that is the illusion of bent gender.
And genre.
What genre?
No, once again sui generis.
We would expect nothing less from Jean Cocteau.
The history of cinema.
Begins with luminaries.
Trying their hands.
Not yet taboo.
The world has not yet grown up.
Cynically, it could be said Cocteau had enjoyed the green hour a few too many evenings by 1950.
Crepuscule with absinthe.
But the truth is more beautiful.
Play the game…everybody play the game.
Just a Queen lyric haunting the childhood dreams of Paul and Lise.
It sounds like Liz, but looks better in the French.
Americans, take note!
You must love French cinema.
It is not for everyone.
John Milton.
Not for everyone.
Even Shaky William is acquired like marmite.
Or green olives.
Foie gras.
This train is the height of luxury.
Bound for glory.
Such concision of expression from Cocteau.
And such economy of means from director Jean-Pierre Melville.
Don’t worry about mispronouncing.
Here’s a French bloke who named himself after an American author (Herman).
Really!
It was the postwar influence on France.
The death of French cinema.
Slowly, as in a car crash.
Now they worship Tarantino.
Quel dommage!
Mais…what’s the damage?
It is Villon come full-circle.
The ladies of Paris.
And on through Baudelaire’s lady: Paris.
Man becomes woman.
Voila!
It is a tricky story.
As when Lise is drenched in milk.
Not even for Technicolor Singin’ in the Rain.
Just for the texture.
Not color.
Renée Cosima.
Real name: Boudin.
Like a sausage cased in a condom.
And Cosima Wagner.
Real name: Liszt.
And Franz Liszt.
Real name: Liszt Ferencz.
And Ferenc Fricsay.
Well, you get the point…
Renée with her beautiful, wide jaw.
And Nicole Stéphane trying to perfect her Greek profile.
A clothespin on the bridge of her nose.
[Which I call ghetto acupuncture. Works great!]
And Édouard Dermit is not bad.
But the real star is Stéphane.
She.
Haggard from the world-weary beginning.
Funny and annoying.
Continuous repartee with Dermit.
All slang and no manners.
She is unlovably lovable until she does the expected.
She was no hero.
All along.
An antiheroine.
And it is anticlimax which we should feel.
When, like a cinder-smeared Gilda, she spits at the world one last time.
You can say they didn’t know.
Any better.
But their dream was more real than our reality.
-PD
paulydeathwish 