L’Atalante (1934)

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L'Atalante (1934)

L’Atalante (1934). 89 minutes. Directed by Jean Vigo. Starring Dita Parlo (as Juliette), Jean Dasté (as Jean), Michel Simon (as Père Jules), Gilles Margaritis (as peddler), Louis Lefebvre (as cabin boy), Maurice Gilles (as manager), and Raphaël Diligent (as Raspoutine).

L’Atalante’s 1962 appearance on Sight and Sound’s decennial poll of the ten greatest films of all time, alongside such classics as Citizen Kane (1941) and Battleship Potemkin (1925), solidified its status as a cineaste favorite and required arthouse fare. François Truffaut and others have advocated for its brilliance, lyricism, and admirable earthiness. Yet the film community’s insistence on L’Atalante’s greatness has distanced some modern critics from it, including David Kamp and Lawrence Levi, who fail to see profundity in its artful shots and poetic sequences. While it is not clear to me that it belongs alongside Kane or Potemkin, or that it outranks other French films of its era such as The Grand Illusion (1937), L’Atalante is nevertheless … Read the rest

Review: Joseph McBride’s “How Did Lubitsch Do It?”

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Ernst Lubitsch, James Stewart, and Margaret Sullivan (1940)

Director, screenwriter, producer, and actor Ernst Lubitsch (1892-1947) was considered by film luminaries such as Orson Welles, Jean Renoir, and Billy Wilder to be among the greatest of directors. Over the course of 36 years and 69 films, Lubitsch’s career survived two major transitions: the industry-wide shift from silent film to sound and the director’s own migration from Europe to the United States. He worked with some of the most brilliant screen performers of his time—including Greta Garbo, Claudette Colbert, Maurice Chevalier, James Stewart, Carole Lombard, Gary Cooper, and Miriam Hopkins, among many others—in films such as Trouble in Paradise (1932), Ninotchka (1939), The Shop Around the Corner (1940), and To Be or Not to Be (1942). Along the way, he perfected the romantic comedy, infusing it with sophistication and wit, and with a sexual humor that seems both cutting edge for its time and a breath of fresh air in our present film culture.

Why then … Read the rest