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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEEKEND MARCH 8, 2019 – CAPTAIN MARVEL!!!

This is a big weekend for Marvel Studios, as they release their first superhero movie with a female protagonist -- not counting Elektra (thanks for the laugh, Max Evry!) -- and the question is not whether it will make $100 million this weekend but how much MORE than $100 million it will be making this weekend. But that’s a question to be answered over at my gig at The Beat and it will be answered in about an hour...

CAPTAIN MARVEL (Marvel Studios/Disney)

Directed by Anna Boden and Ryan Fleck (Half Nelson, Sugar, Mississippi Grind) Written by Boden, Fleck and Geneva Robertson-Dworet Cast: Brie Larson, Samuel L. Jackson, Jude Law, Ben Mendelsohn, Djimon Hounsou, Lee Pace, Annette Bening, Gemma Chan, McKenna Grace, Lashana Lynch, Clark Gregg MPAA Rating: PG-13

I’m not sure how much more I have to say about the latest Marvel movie after writing about it extensively for The Beat. (You are reading my Box Office Preview there for all the stuff you used to read in this column about the wide releases, right?)

I am greatly looking forward to seeing this on Thursday night for a number of reasons and none of them are due to “old white man hater” Brie Larson, who I used to have respect for until she decided to attack me and my livelihood and ability to get work.

That said, I’ve been waiting for directors Anna Boden and Ryan Fleck to break out and do a big studio movie for many years, as I’ve been a fan of theirs since Half Nelson and have spoken to them a number of times including one of my favorites of theirs, the road trip movie Mississippi Grind, starring Ryan Reynolds and Ben Mendelsohn, who played a much nicer and more sympathetic role in that then he has portraying the villain in many studio movies since then.

I’m also looking forward to Captain Marvel since it introduces to the MCU the idea of the alien races, the Kree and the Skrulls, who have played such a large part in some of my favorite Marvel Comics storylines, including the “Kree-Skrull War” from The Avengers, which certainly could be something being set up in the MCU. I also loved the Skrulls as Fantastic Four villains, and here’s hoping that with the new Disney-Fox merger, we might actually see a GOOD Fantastic Four movie one of these days (or a crossover with Avengers even!)

Anyway, we’ll see whether I feel like writing a review for this on Friday after seeing it on Thursday night, but it’s really tough to be fair and impartial when the star of a movie has already gone out of her way to write you off, due to your gender, race and age.

More importantly, let’s get to some…

LIMITED RELEASES

One of the best movie out this weekend is Oscar-winning Chilean filmmaker Sebastian Lelio’s new movie GLORIA BELL (A24), starring Julianne Moore. A remake of his 2013 Spanish language film Gloria, the filmmaker behind A Fantastic Woman makes his English language debut with Moore playing the title character, a lonely older woman dealing with family issues who goes out dancing on Friday nights in hoping of meeting men. On one such night she meets John Turturro’s Arnold, and the two of them fall into a romance that runs into issues when he finally meets her kids and ex-husband (Brad Garrett). Although I never did see Gloria, I was pretty blown away by how Lelio told this story, and Moore gives one of the best performances of her career – YES, MUCH better than her Oscar-winning turn in Still Alice. I know that A24 brought the movie to TIFF last year, but for whatever reason, they decided to hold it until March… just like Brie Larson’s Free Fire, ironically enough. Personally, I think Moore has a real chance at another Oscar nomination, but having a movie released so early in the year will make it tough, sadly. I was really able to relate to this movie more than I thought I would but mainly to Turturro’s character.

Another film worth seeking out is Vincent D’Onofrio’s second film as a director, the Western THE KID (Lionsgate), as in “Billy the Kid,” played by Dane DeHaan. The “kid” in the title is also teenager Rio, played by Jake Schur, who is on the run with his sister (Leila George) trying to get away from their abusive uncle (played by Chris Pratt!) Along the way, they meet Billy the Kid, as well as Sheriff Pat Garrett, who has been sent to capture and try Billy. It’s opening in 250 theaters on Friday, so it won’t be too hard to find, and I’d love to say more wonderful things about it, but I’ve been embargoed. I hope to have an interview with D’Onofrio soon over on The Beat!

Another film worth seeking out is 3 FACES (Kino Lorber), the new film from Iranian filmmaker Jafar Panahi (The Circle, Offside), who has been banned from making films in his home country but continues to find a way to make films anyway. This one received an award for Best Screenplay at Cannes last year and has played Toronto and New York Film Festivals before opening at the IFC Centeron Friday. Panahi also stars in this drama along with Iranian actor Behnaz Jafari, as they go on a road trip to help a girl whose family has forbidden her from attending a drama school in Tehran, encountering various people along the way. The film continues Panahi’s exploration of combining his personal life with dramatic storytelling in the real world, which I haven’t really enjoyed as much as his straight dramas.

Opening at Metrograph is Black Mother (Grasshopper Films), the new cinema verité doc from filmmaker and photographer Khalik Allah (Field Niggas), which combines portraits of denizens of Jamaica shot on 16mm and HD with audio recordings of them talking about life in Jamaica. It’s a really beautiful film, and this is from someone who generally doesn’t care for cinema verité docs, but this really is a compelling film that’s worth seeing.

Oscar winner J.K. Simmons stars in his wife Michelle Schumacher’s second film I’m Not Here (Gravitas Ventures) playing Steve, as a lonely man who is haunted by memories of his past locked into the objects and sounds around his house. The film also stars Sebastian Stan, Mandy Moore, Max Greenfield, David Koechner and Harold Perrineau, and it opens at New York’s Village East, Los Angele’s Laemmle Monica and in other select cities this Friday. (Simmons and Schumacher will be at the Laemmle for a QnA on Sunday evening.)

Opening at New York’s Quad Cinema Friday is Giacomo Durzi’s doc Ferrante Fever (Greenwich) about novelist Elena Ferrante, who has made waves both in Italy and in America, thanks to a few independent publishers.

Gabrielle Brady’s directorial debut Island of the Hungry Ghosts, winner of Best Documentary at last year’s Tribeca Film Festival, will open at Astoria’s Museum of the Moving Image. It focuses on the residents of Christmas Island off the coast of Indonesia where asylum seekers are held in a high-security detention center and counseled by trauma therapist Poh Lin Lee.

Since I haven’t had a chance to see JC (All Is Lost, Margin Call) Chandor’s new movie Triple Frontier, starring Ben Affleck, Oscar Isaac, Charlie Hunnam, Garrett Hedlund and Pedro Pascal (Narcos) as Special Forces operatives planning a South American heist, I don’t have much to say about it, although I’m sold based on the premise alone. It’s opening In New York and L.A. on Wednesday in single theaters in both places (Sorry, Steven Spielberg!) but it will stream on Netflix a week later on March 13. Maybe I’ll write more about it next week. Maybe not.

Opening at the Film Society of Lincoln Center is the late Hu Bo’s An Elephant Sitting Still (KimStim) which played at New Directors/New Films in 2018. It involves a teenager who accidentally injures a bully and interacts with various people who are dealing with their own burdens. Actor Zhang Yu will be making appearances before and after screenings including a reception before the 6:30pm screening on Friday.

This week’s Bollywood offering is Sujoy Ghosh’s BADLA (Reliance Entertainment), starring Taapsee Pannu as a young entrepreneur who is locked in a hotel room with the body of her deadl lover, so she calls upon a prestigious lawyer (Bollywood vet Amitabh Bachchan) to figure out how she ended up in that predicament.

REPERTORY

METROGRAPH (NYC):

Ringo Lam X3 continues through the weekend, while Raul Peck X2continues with a screening of Murder in Pacot (2014) on Saturday. This week’s Late Nites at Metrograph is Fassbinder’s Love is Cooler than Death (1969), and the weekend’s Playtime: Family Matinees is 1982’s The Last Unicorn, an animated film from Rankin and Bass that was co-created by the Japanese anime studio Topcraft, who went on to form Studio Ghibli – you’ve probably heard of them. The voice cast includes Mia Farrow, Alan Arkin, Jeff Bridges, Angela Lansbury and Christopher Lee, and it’s probably a bit of a lost classic.

THE NEW BEVERLY (L.A.):

Weds and Thursday is the Billy Dee Williams cop double feature The Take (1974) and Nighthawks (1981), and then on Friday and Saturday, the Bev double features One Flew Over the Cuckoo’s Nest (1975) and Arthur Hiller’s The Crazy World of Julius Vrooder (1974) (a movie I’ve never even heard of!). Sunday and Monday’s double feature is two Paul Wendkos films, The Case Against Brooklyn and Tarawa Beachhead, both from 1958. On Saturday and Sunday, the Kiddee Matinee is the Australian horse movie Phar Lap (1983) while the midnight offerings this weekend are Kill Bill Vol. 2 on Friday and The Groove Tubeon Saturday. Grindhouse Tuesday is back with the “Bruce Li” double feature of Soul Brothers of Kung Fu (1977) and The Image of Bruce Lee (1978), movies made after Bruce Lee’s death. (If I lived in L.A., this is where I would be on Tuesday night.) The high school comedy classic Clueless (1995) will screen on Tuesday, as well.

FILM FORUM (NYC):

Starting this weekend, the Greenwich Village theater presents a new 4k restoration of Jack Clayton’s 1959 film Room at the Top, which won Oscars for screenplay and actress Simone Signoret and was nominated for Picture, Director, Actor and Supporting Actress (for Hermione Baddeley’s 2.5 minute appearance in the film). It’s about a working-class guy who sets his sights on the daughter of the boss.The weekend’s Film Forum Jr. is Joe Dante’s 1993 film Matinee, starring John Goodman. Also, author David Thomson will present a screening of Joseph Losey’s 1963 film The Servant on Sunday.

MOMA (NYC):

New month, new Modern Matinees series and for the next two months, it’s a doozy with Modern Matinees: B is for Bacall, showcasing the fabulous filmography of Oscar-nominated actor Laure Bacall. This week, they’re screening the 1954 film Woman’s Worldon Wednesday, Howard Hawks’ The Big Sleep (1946) on Thursday and 1947’s Dark Passages on Friday. (Note that most of these movies will be rescreened later in the series in case you miss them this week.) Also this week is the series William Fox Presents More Restorations and Rediscoveries from the Fox Film Corporation, which features lots of movie from the ‘20s and ‘30s, many of them accompanied with live piano. Wednesday is Hangman’s House from 1928 and 1920’s Just Palsand Friday is 1929’s The Cock-Eyed World and Me and My Gal (1932), and there’s more on Saturday, Sunday and next week. This is a busy time for MOMA as they’re also presenting Carte Blanche: Mariette Rissenbeek on German Women Cinematographers, which mostly features films from the last 15 years but many which never have received U.S. theatrical releases.

EGYPTIAN THEATRE (LA)

Big weekend for Albert Finney fans as Albert Finney Remembered presents a few fantastic double features including Two for the Road (1967) and Alan Parker’s Shoot the Moon (1982) on Thursday, the Coens’ Miller’s Crossing (1990) and John Huston’s Under the Volcano (1984) on Friday and Tom Jones (1963) and Tim Burton’s Big Fish (2003) on Sunday. The Egyptian’s big event for the weekend is the 7-movie day-long Boris Karloff-Bela Lugosi Movie Marathonon Saturday, which will include Frankenstein, Dracula but some lesser-seen classics like The Raven (1935) and more. If I lived in L.A., this is where I would be on Saturday.

AERO (LA):

The AERO continues its Hitchcock, Truffaut and Jones series with double features Hitchcock’s The Man Who Knew Too Much (1956) and Truffaut’s 1968 film The Bride Wore Black (which I’ve actually seen fairly recently!) on Friday, and Rear Window (1954)and Mississippi Mermaid (1969) on Saturday. The theater will also have an all-day screening of Sergey Bondarchuk’s 7-hour epic adaptation of War and Peace (1967) in four parts with two brief intermissions.

QUAD CINEMA (NYC):

The Quad’s still a month away from its 2-year restoration anniversary, but they’re reshowing Bertrand Blier’s Going Places and Luis Bunuel’s Tristana this coming weekend. The former is also part of Amour or Less: A Blier Buffet, a retrospective of the French filmmaker who I’m not even remotely familiar with. (Sorry!) They’re showing eight of Blier’s films before the new 40thanniversary restoration of his 1978 film Get Out Your Hankerchiefs opens on Friday, March 15.

IFC CENTER (NYC)

While Weekend Classics: Early Godard seems to be taking a weekend off, Waverly Midnights: The Feds is screening the Wayan Brothers’ White Girls (2004) in a 35mm print! Late Night Favorites takes a break from showing Ridley Scott’s Alien (which celebrates its 40th anniversary this month!) to show David Lynch’s Eraserhead (1977).

BAM CINEMATEK (NYC):

Premiering at BAM on Friday (as well as the Laemmle Glendale in L.A.) is the U.S. premiere of a restoration of Franco Rocco’s 1980 film Babylon, which was banned from the New York Film Festival and never released in the United States. Written by Martin Stellman (Quadrophenia), it stars Brinsley Forde from reggae group Aswad as a dancehall DJ who fights again racism and xenophobia in Thatcher-era London.

MUSEUM OF THE MOVING IMAGE (NYC):

See It Big! Costumes by Edith Head concludes this weekend with screenings of Hitchcock’s The Birds (1963) and Marnie (1964).

LANDMARK THEATRES NUART (LA):

The Nuart’s Friday midnight screening is George Miller’s Mad Max: Fury Road Black & Chrome Edition (2015).

STREAMING AND CABLE

Season 1 of Ricky Gervais’ new series After Life will debut on Netflix starting Friday, but there are also a few new movies including Clark Johnson’s Juanita, starring Alfre Woodard as the mother of three who goes on a trip to Montana, plus there’s Conor Allyn’s Walk. Ride. Rodeo., an inspirational drama that tells the true story of Amberley Snyder, played by Spencer Locke from the Resident Evil series, a 19-year-old rodeo rider who barely survives a car crash that leaves her paralyzed from the waist down. So yeah, Netflix is even trying to sidetrack Brie Larson’s Captain Marvel rerelease with other female-led films just like they’re going to try to derail Warners’ Shazam! with Brie Larson’s directorial debut Unicorn Store next month. The struggle continues.

Now available for digital download is Joe Eddy’s Steve McQueen biopic Chasing Bullitt (Vertical), starring Andre Brooks as the legendary actor who in 1971 makes a deal with his agent to let him choose his next acting gig if he finds his Ford Mustang GT 390 from Bullitt. Also available digitally is Dallas King’s action-thriller Kiss Kiss (Cleopatra Entertainment) that follows four strippers who go to a wine tasting that turns into a female fight night. I didn’t make this movie up, but apparently, it’s counter-programming to Captain Marvel.

LOCAL FESTIVALS

On Thursday, the Museum of the Moving Image is presenting the 6thannual Philip K. Dick Science Fiction Film Festival with two programs of short films. Also on Thursday, the IFC Center will kick off Canada Now 2019 with Nicholas de Pencier and Edward Burtynsky’s new doc Anthropocene: The Human Epoch, another globe-crossing from the duo behind Manufactured Landscapes. There will also be other Canadian films that have played in various film festivals north of the border.

Oh, yeah, also South by Southwest is happening in Austin, but I’m not going, so…

That’s it for this week. Next week, Captain Marvel will probably be #1 again, but there are a few other movies hoping at least for second place.

#WhatToWatchThisWeekend CaptainMarvel GloriaBell Movies Reviews

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love-midnight-sunshine · 4 years

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Genre: Drama

Language: French

IMDb Ratings: 6.9/10

Quality: BluRay

Movie Size: 720p (458MB), 1080p (852MB)

Director: Germaine Dulac

Movie Cast: Andrée Brabant, Gabriel Signoret, Jules Raucourt

Download Here -

Sypnosis: A Parisian museum director believes his wife has lost interest in him and so places a poisoned cigarette in the box on his desk - thus allowing chance to decide the moment of his death.

Note - Report Dead Or Broken Link With URL 'HERE' (Links Will ReUp Soon) Screenshot

#Skid #Movies #HD #720p #1080p

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wildyoungboy · 5 years

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[September 20th 1919] France: Jacques de Baroncelli is filming "The Secret of Lone Star" with the American star Fanny Ward Rex MacDougall and Gabriel Signoret. With this type of film Delac and Vandal from Film d'Art are hoping to gain a bigger slice of the American cinema market.

#Pinterest #100yearsago

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onlinevideoproduction · 5 years

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Costa-Gavras : L'aveu

In October and November 2019, the Institut français d'Ecosse will be screening 4 films of the film Greek-French director Costa-Gavras. These events are free, but for members only. We invite you to book early and if you are not yet a member of the Institut français d'Ecosse, we invite you to join. The film this week is L'aveu.

Synopsis: Anton Ludvik, aka Gerard, is vice-minister of Foreign Affairs of Czechoslovakia. He realizes he is watched and followed. One day, he is arrested and put into jail, in solitary confinement. We are shown the mental tortures during the investigation and how a faithful top-ranking civil servant is made to confess to treason. Based on the true story of Czechoslovakian communist Artur London.

Starring Yves Montand, Simone Signoret, Gabriele Ferzetti

L'aveu (dir. Costa-Gavras | 1970 | 2h19min) Tuesday, 15 October | 6:45pm Salle Emilienne Moreau-Evrard In French with English subtitles ADMISSION FREE | MEMBERS ONLY

Institut français d'Ecosse Salle Emilienne Moreau-Evrard West Parliament Square Edinburgh EH1 1RF

Access Details The Institut français d'Ecosse and the Salle Emilienne Moreau-Evrard are fully accessible with step-free access available at West Parliament Square and George IV Bridge.

Booking This event is free for members, but booking is strongly recommended. Book directly online or contact us at 0131 285 6030 or ifecosse.edimbourg-cslt @diplomatie.gouv.fr

from Institut Français Écosse http://www.ifecosse.org.uk/Costa-Gavras-L-aveu.html via IFTTT

#showreel media #media production company #business media specialists #media specialists company

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cinemacinemas-fr · 5 years

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L’aveu de Costa-Gavras (1970) #MrCinema 300

Retrouvez la bande-annonce du film L’aveu ponctuée des secrets de tournage et d'anecdotes sur celui-ci. ■ Abonnez-vous sur YouTube ► https://goo.gl/dck70g ■ Suivez-moi sur Twitter ► https://goo.gl/IMyExb ■ Rejoignez-moi sur Facebook ► https://goo.gl/eWnGLq ■ Suivez-moi sur Instagram ► https://goo.gl/N7expq 🎥 L'Aveu est un film français de Costa-Gavras, réalisé en 1970, adapté du livre du même nom d'Artur London. ✎ A Prague, en 1951, un homme est persécuté par le système malgré son passé irréprochable. Sa femme le désavoue en public et il finit par avouer n'importe quoi avant d'être réhabilité, alors que les chars russes entrent dans la ville… 🎬 Fiche technique ▬▬▬▬▬▬▬▬▬ Réalisation : Costa-Gavras, assisté d'Alain Corneau Scénario : Jorge Semprún, d'après le livre d'Artur London Photographie : Raoul Coutard Musique : Giovanni Fusco Date de sortie France : 29 Avril 1970 ☺ Distribution ▬▬▬▬▬▬▬ Yves Montand, Simone Signoret, Michel Vitold, Gabriele Ferzetti, Jean Bouise, Lajos Szabo, Gérard Darrieu, Monique Chaumette, Sacha Briquet, Marcel Cuvelier, Gilles Segal, Henri Marteau, Jean Lescot, Michel Beaune, Jacques Rispal, Michel Robin, Georges Aubert, Thierry Bosc, André Cellier, Jean-Paul Cisife, Pierre Decazes, Claude Vernier, Antoine Vitez ✎ Sources Wikipedia: https://ift.tt/2TJcCeH ✎ Sources AlloCiné: https://ift.tt/1qQCjnP #YvesMontand #SimoneSignoret #MichelVitold #GabrieleFerzetti #JeanBouise #LajosSzabo #GérardDarrieu #MoniqueChaumette #SachaBriquet #MarcelCuvelier #GillesSegal #HenriMarteau #JeanLescot #MichelBeaune #JacquesRispal #MichelRobin #GeorgesAubert #ThierryBosc #AndréCellier #JeanPaulCisife #PierreDecazes #ClaudeVernier #AntoineVitez #CostaGavras #JorgeSemprún #RaoulCoutard #GiovanniFusco #FrançoiseBonnot #BertrandJaval https://youtu.be/2GAZ4F1hFcE

#bandeannonce #cinema #bandesannonces #artetessai #independant #vlog #films #cinéma #chronique #réali

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brittanyyoungblog · 5 years

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74 Happy Anniversary Quotes to Help You Celebrate

An anniversary is more than just another trip around the sun with your partner in tow. It’s a reaffirmation of your bond. It’s a special moment. It means you made it through hiccups and joys of another year and you’re still together. That’s worth celebrating.

Anniversaries are a time to express gratitude for your relationship, but it can be difficult to find exactly the right words. We pulled over 70 of our favorite anniversary quotes to help inspire the words you’ll share with your partner on this special date.

The secret of a happy marriage is finding the right person. You know they’re right if you love to be with them all the time. ―Julia Child

A wedding anniversary is the celebration of love, trust, partnership, tolerance and tenacity. The order varies for any given year. ―Paul Sweeney

There is no more lovely, friendly and charming relationship, communion or company than a good marriage. ―Martin Luther

An anniversary is a reminder as to why you love and married this person. ―Zoe Foster Blake

You were made perfectly to be loved – and surely I have loved you, in the idea of you, my whole life long. ―Elizabeth Barrett Browning

Chains do not hold a marriage together. It is threads, hundreds of tiny threads, which sew people together through the years. ―Simone Signoret

We are not the same persons this year as last; nor are those we love. It is a happy chance if we, changing, continue to love a changed person. ―W. Somerset Maugham

I love my wife, she deserves anything and everything. ―Aaron Spelling

I think long-lasting, healthy relationships are more important than the idea of marriage. At the root of every successful marriage is a strong partnership. ―Carson Daly

We concentrate so much on anniversaries and birthdays that you forget it’s the Tuesday that’s tough that really counts. Sometimes she just needs some flowers or even just that ear. It’s the little things that count. It’s the regular days of the year that you have to keep your attention on her. ―BJ the Chicago Kid

That there’s no more important decision in life than who you marry. ―Brad Paisley

I love marriage. I think it’s a wonderful institution and it’s the most important decision you make. ―Isla Fisher

Marriage is a coming together for better or for worse, hopefully enduring, and intimate to the degree of being sacred. ―William O. Douglas

Truth is everybody is going to hurt you: you just gotta find the ones worth suffering for. ―Bob Marley

I’m lucky in having found the perfect partner to spend my life with. ―Sara Paretsky

The relationship between husband and wife should be one of closest friends. ―B. R. Ambedkar

Every good relationship, especially marriage, is based on respect. If it’s not based on respect, nothing that appears to be good will last very long. ―Amy Grant

True love doesn’t happen right away; it’s an ever-growing process. It develops after you’ve gone through many ups and downs, when you’ve suffered together, cried together, laughed together. ―Ricardo Montalban

True love stories never have endings. ―Richard Bach

Life is a game and true love is a trophy. ―Rufus Wainwright

True love comes quietly, without banners or flashing lights. If you hear bells, get your ears checked. ―Erich Segal

Only true love can fuel the hard work that awaits you. ―Tom Freston

I do believe in one true love. ―Michelle Dockery

I love that you get cold when it’s 71 degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you’re looking at me like I’m nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to talk to before I go to sleep at night. And it’s not because I’m lonely, and it’s not because it’s New Year’s Eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible. ― Nora Ephron, When Harry Met Sally

Love is not a maybe thing, you know when you love someone. ― Lauren Conrad

When you find a guy who calls you beautiful instead of hot, who calls you back when you hang up on him, who will stand in front of you when other’s cast stones, or will stay awake just to watch you sleep, who wants to show you off to the world when you are in sweats, who will hold your hand when your sick, who thinks your pretty without makeup, the one who turns to his friends and say, ‘that’s her’, the one that would bear your rejection because losing you means losing his will to live, who kisses you when you screw up, watches the stars and names one for you and will hold and rock that baby for hours so you can sleep…..you marry him all over again. ― Shannon Alder

I believe in the immeasurable power of love; that true love can endure any circumstance and reach across any distance. ― Steve Maraboli

So you do believe in… true love? she whispered. I took a deep breath, I think I have to, I said, blinking back tears. Without it, we’re all going nowhere. ― Juliet Marillier

True love is supposed to make you into a better person-uplift you. ― Emily Griffin, Love the One You’re With

Falling in love is very real, but I used to shake my head when people talked about soul mates, poor deluded individuals grasping at some supernatural ideal not intended for mortals but sounded pretty in a poetry book. Then, we met, and everything changed, the cynic has become the converted, the sceptic, an ardent zealot. ― E.A. Bucchianeri, Brushstrokes of a Gadfly

Whatever our souls are made of, yours and mine are the same. ―Emily Brontë

I saw that you were perfect, and so I loved you. Then I saw that you were not perfect and I loved you even more. ―Angelita Lim

I love you without knowing how, or when, or from where. I love you simply, without problems or pride: I love you in this way because I do not know any other way of loving but this, in which there is no I or you, so intimate that your hand upon my chest is my hand, so intimate that when I fall asleep your eyes close. ―Pablo Neruda

Love grows more tremendously full, swift, poignant, as the years multiply. ―Zane Grey

If equal affection cannot be, let the more loving one be me. ―W.H. Auden

I wish there was a word more than ‘love’ itself to convey what I feel for you. ―Faraaz Kazi

In all the world, there is no heart for me like yours. In all the world, there is no love for you like mine. —Maya Angelou

As we grow older together, As we continue to change with age, There is one thing that will never change … I will always keep falling in love with you. —Karen Clodfelder

I love you not only for what you are, but for what I am when I am with you. I love you not only for what you have made of yourself, but for what you are making of me. I love you for the part of me that you bring out. —Roy Croft

I love you―I am at rest with you―I have come home. —Dorothy L. Sayers

Love is an endless act of forgiveness. Forgiveness is me giving up the right to hurt you for hurting me. ―Beyonce

Lots of people want to ride with you in the limo, but what you want is someone who will take the bus with you when the limo breaks down. ―Oprah Winfrey

The best thing to hold onto in life is each other. ―Audrey Hepburn

Never above you. Never below you. Always beside you. ―Walter Winchell

Nobody can predict the future. You just have to give your all to the relationship you’re in and do your best to take care of your partner, communicate and give them every last drop of love you have. I think one of the most important things in a relationship is caring for your significant other through good times and bad. ―Nick Cannon

Take a lover who looks at you like maybe you are magic. ―Frida Kahlo

You deserve someone who is terrified to lose you. ―R.H. Sin

Fall in love with someone who makes you glad to be different. ―Sue Zhao

In the end there doesn’t have to be anyone who understands you. There just has to be someone wants to. ―Robert Breault

The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed. ―Carl Gustav Jung

Well, it seems to me that the best relationships―the ones that last―are frequently the ones that are rooted in friendship. You know, one day you look at the person and you see something more than you did the night before. Like a switch has been flicked somewhere. And the person who was just a friend is… suddenly the only person you can ever imagine yourself with. ―Gillian Anderson

It’s no good pretending that any relationship has a future if your record collections disagree violently or if your favorite films wouldn’t even speak to each other if they met at a party. ― Nick Hornby

Nothing in this world was more difficult than love. ―Gabriel García Márquez

I define connection as the energy that exists between people when they feel seen, heard, and valued; when they can give and receive without judgment; and when they derive sustenance and strength from the relationship. ―Brené Brown

You fit into me like a hook into an eye a fish hook an open eye ― Margaret Atwood

Trust is the fruit of a relationship in which you know you are loved. ―William P. Young

Why don’t we break up? I guess I stay with her because she stays with me. And that’s not an easy thing to do. ―John Green, Looking for Alaska

He knew me in all the ways that truly mattered: the shape of my fears, the contours of my dreams. ―Justina Chen Headley

There isn’t time, so brief is life, for bickerings, apologies, heartburnings, callings to account. There is only time for loving, and but an instant, so to speak, for that. ―Mark Twain

You know someone’s right for you when the things they don’t have to say are even more important than the things they do. ―Jodi Picoult

Love doesn’t have to be on Valentine’s Day. It doesn’t have to be by the time you turn eighteen or thirty-three or fifty-nine. It doesn’t have to conform to whatever is usual. It doesn’t have to be kismet at once, or rhapsody by the third day. It just has to be. In time. In place. In spirt. It just has to be. ―David Levithan

Life contains but two tragedies. One is not to get your heart’s desire; the other is to get it. ―Socrates

I’m done. I don’t need anything more out of life. I have you, and that’s enough. ―Alessandra Torre

The strength of a man isn’t seen in the power of his arms. It’s seen in the love with which he embraces you. ―Steve Maraboli

There is no mystery―that’s the beauty of it. We are entirely explicable to each other, and yet we stay. What a miracle that is. ―Kamila Shamsie

If I lived a million lives, I would’ve felt a million feelings and I still would’ve fallen a million times for you. ―Robert M. Drake

I just want someone to hear what I have to say. And maybe if I talk long enough, it’ll make sense. ―Ray Bradbury

We’ve lost a lot of years, but you can’t lose love. Not real love. It stays locked inside you, ready for whenever you are strong enough to find it again. ―Martina Boone

I had a dream about you last night. I was alone on a dark night and you came to me as a firefly. I knew it was you because you were the brightest. ―Crystal Hudson

Love grows from stable relationships, shared experience, loyalty, devotion, trust. ―Richard Wright

There is nothing more beautiful than a vulnerable heart in open hands. ―Amanda Mosher

I loved you at your worst, and you were always at your worst. Nothing could stop me. Not even you. ―Denice Envall

An anniversary is a celebration of the triumph and tragedy of love. ―Debasish Mridha

The post 74 Happy Anniversary Quotes to Help You Celebrate appeared first on The Date Mix.

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ocioenlinea · 5 years

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Videosalas del 11 al 17 de enero de 2019

VIDEOSALA DEL EX CONVENTO DEL CARMEN Avenida Juárez 638, entre Pavo y 8 de Julio. T/3030-1350 Boletos: $25 general; $15 estudiantes y maestros con credencial. COMEDIA BANANAS D: Woody Allen Con Woody Allen, Louise Lasser, Carlos Montalbán Estados Unidos, 1971. d: 82 min. Fielding Mellish es un torpe y tímido catador de productos que, abandonado por su novia, la sensual y atractiva Nancy, decide tomar unas vacaciones y pasarlas en la pequeña República de San Marcos. Pero lo único que consigue es verse envuelto en un sinfín de líos burocráticos en un país dominado por la guerrilla. Viernes 11, 16:00, 18:00 y 20:00 h

ACCION EL SATÁNICO DR. NO D: Terence Young Con Sean Connery, Ursula Andress, Jack Lord Estados Unidos, 1962. d: 111 min. James Bond llega a Jamaica con la misión de investigar los asesinatos de un agente especial británico y su secretaria. Pero, al mismo tiempo, descubre la existencia de una siniestra organización en la isla Crab Key. En esta ocasión, su enemigo es el Doctor No, que, con la ayuda del profesor Dent, se propone a desviar la trayectoria de los cohetes de Cabo Cañaveral. Sábado 12 y domingo 13, 16:00, 18:00 y 20:00 h DRAMA EL ÁNGEL AZUL D: Josef von Sternberg Con Marlene Dietrich, Emil Jannings, Kurt Gerron Alemania, 1930. d: 109 min. Adaptación cinematográfica de la novela “Profesor Unrat” de Heinrich Mann. Narra la tragedia de un severo profesor que una noche va a “El Ángel Azul”, un cabaret de mala fama, para llevarse de allí a sus alumnos, que acuden al local seducidos por los encantos de la cantante Lola-Lola (Dietrich). Sin embargo, el profesor Rath, un solterón de 50 años, acaba cayendo en las redes de la cabaretera. Martes 15, 16:00, 18:00 y 20:00 h DRAMA PARÍS BAJOS FONDOS D: Jacques Becker Con Simone Signoret, Serge Reggiani, Claude Dauphin Francia, 1952. d: 96 min. París, 1900. Marie, una bella prostituta, es la amante de uno de los hombres de la banda de Felix; pero, sorprendentemente, acabará encontrando el verdadero amor en un sencillo carpintero. Su amante, celoso, lo provoca, y ambos se enzarzan en una terrible pelea. Miércoles 16, 16:00, 18:00 y 20:00 h DRAMA BUDA EXPLOTÓ POR VERGUENZA D: Hana Makhmalbaf Con Nikbakht Noruz, Abdolali Hoseinali, Abbas Alijome Irán, 2007. d: 81 min. Bajo la estatua del Buda que destruyeron los talibanes, aún viven miles de familias. Baktay, una niña afgana de seis años, es incitada a ir a la escuela por el hijo de sus vecinos que lee los alfabetos frente a su cueva. De camino a la escuela, es acosada por unos niños que juegan de forma cruel reflejando la sociedad tan violenta que los envuelve. Los niños pretenden lapidar a Baktay, o destruirla como el Buda. Jueves 17, 16:00, 18:00 y 20:00 h

VIDEOSALA CAAV Lerdo de Tejada 2071, entre Marsella y Chapultepec. T/3615-8470. Entrada libre. DRAMA A PLENO SOL D: René Clément Con Alain Delon, Maurice Ronet, Billy Kearns Francia, 1960. d: 115 min. Tom Ripley, un cazafortunas, es enviado a Europa por el señor Greenleaf para buscar a su hijo Philip, un playboy mimado, y llevarlo de vuelta a los Estados Unidos. A cambio recibirá 5,000 dólares. Philip engaña a Tom fingiendo que está decidido a volver, pero no tiene ninguna intención de dejar a su prometida ni de cumplir los deseos de su padre. Viernes 11, 16:00 y 18:00 h DRAMA EL TOQUE THE TOUCH D: Ingmar Bergman Con Bibi Andersson, Elliott Gould, Max von Sydow Estados Unidos, 1971. d: 113 min. Drama sobre las relaciones conyugales. El matrimonio de Karin (Bibi Andersson) y Andreas (Max von Sydow) es satisfactorio, pero carece de estímulos. Quizá por eso, cuando Karin conoce a David (Elliot Gould), un arqueólogo cuya vida transcurre entre viajes y aventuras, empieza a albergar sentimientos contradictorios. Sábado 12 y domingo 13, 16:00 y 18:00 h DRAMA DOLOROSA INDIFERENCIA D: Aleksandr Sokurov Con Ramaz Chkhikvadze, Irina Sokolova, Vladimir Zamansky URSS, 1987. d: 92 min. A la mansión del excéntrico capitán Shotover llega una comitiva de extravagantes personajes, entre los que están Ellie Dunn y su prometido, el Jefe Mangan. A la amenaza de una guerra inminente se unen los escarceos amorosos, los pantagruélicos banquetes, muertes súbitas, autopsias y resurrecciones. Lunes 14, 16:00 y 18:00 h DRAMA EL AZAR HACE BIEN LAS COSAS D: Lorenzo Gabriele Con Jean-Claude Brialy, Sabine Haudepin, Antonio Interlandi Francia, Suiza, 2002. d: 89 min. El profesor Jean-Pierre es un intelectual que lleva una vida tranquila. Hasta que recibe una carta del Gobierno, ordenándole que sea el tutor de un niño problemático, Antoine. Mientras piensa en alguna forma de huir de la responsabilidad, se envuelve cada vez más con el muchachito, tomando decisiones importantes para su propia vida. Martes 15 y miércoles 16, 16:00, 18:00 y 20:00 h OPERA ROBERTO DEVEREUX Con Mariella Devia, Gregory Kunde, Silvia Tro Santafé Conductor: Bruno Campanella Orchestra and Chorus of the Teatro Real de Madrid, 2016. d: 137 min. Roberto Devereux, conde de Essex. Ha cometido graves delitos, pero la reina Isabel, que está enamorada de él pero que ignora que él lo está de la duquesa Sara, se debate entre perdonarlo o no. La reina Isabel I de Inglaterra, ya madura, se enamoró del conde de Essex, lo que le llevará a su ruina. Duque de Nottingham. Es amigo y valedor de Roberto hasta que descubre que su esposa y él están enamorados. Jueves 17, 16:00 h

MUSEO DE ARTE DE ZAPOPAN (MAZ). Andador 20 de Noviembre 166, Centro. Entrada gratis. DOCUMENTAL HOMO SAPIENS Di: Nikolaus Geyrhalter Austria, 2016. d: 94 min. Homo Sapiens es una película que trata sobre las fragilidades y las limitaciones de la existencia humana y el final de la era industrial; lo que significa ser un ser humano. ¿Qué quedará de nosotros cuando nos hayamos muerto? Espacios vacíos, ruinas, ciudades con cada vez más y más vegetación, asfaltos despedazados; los lugares que habitamos ahora (pero de donde ha desaparecido la humanidad) están abandonados, en decadencia y reclamados de a poco por la naturaleza luego de haber sido sacados de ella hace mucho tiempo. Homo sapiens es una oda a la humanidad vista desde un escenario futuro posible. Tiene la intención de afilar nuestra visión sobre nuestra actualidad y desarrollar una conciencia sobre el presente Jueves 17 de enero, 20:00 h

CINEFORO UDEG. Av. Juárez esq. Enrique Díaz de León, piso -1. T/3826-7297. Boleto: $45 general; $30 miércoles general y universitarios con credencial. www.cineforo.udg.mx DRAMA EL INFILTRADO DEL KKKLAN D: SPIKE LEE Estados Unidos, 2018. d: 120 min. En los Estados Unidos de los años 70, Ron Stallworth se convierte en el primer detective afroamericano del departamento de policía de una ciudad en Colorado. Cuando una misión lo lleva a infiltrarse en el Ku Klux Klan, será ayudado por Flip, uno de sus colegas, quien se hace pasar por él en las reuniones de la organización. Con el hilarante y fustigador estilo que ha caracterizado su obra, el más reciente largometraje del veterano cineasta Spike Lee ofrece un inquebrantable examen a la realidad de las relaciones raciales en su país. Basada en una historia real, la película resulta una fábula que hila drama policiaco, comedia, sarcasmo y un manifiesto político contra el racismo en la actualidad Viernes 11 y sábado 12, 15:40, 18:00, 20:20 h DRAMA HANNAH D: Andrea Pallaoro. País Italia-Francia-Bélgica, 2017. d: 120 min. Hannah tiende a depender de todo el mundo mientras vive sus días bajo una rutina monótona. Cuando su esposo ingresa a prisión, se verá obligada a luchar contra su propio ser. La soberbia interpretación de la actriz Charlotte Rampling guía el segundo largometraje del italiano Andrea Pallaoro, el cual se define como un retrato íntimo sobre la pérdida de identidad de una mujer que oscila entre la negación y la realidad. A través de una narrativa contemplativa que explora la personalidad fracturada y la pérdida de autocontrol de Hannah, la película reflexiona sobre la alienación social Domingo 13 y lunes 14, 16:00, 18:00, 20:00 h DRAMA BUSCANDO A INGMAR BERGMAN D: Margarethe von Trotta, con Felix Moeller y Bettina Böhler País Alemania-Francia, 2018. d: 120 min. El primer ejercicio de no-ficción de la actriz y directora Margarethe von Trotta es un acercamiento a la vida y obra del prominente director sueco Ingmar Bergman, cuyo quehacer artístico fue ampliamente alabado por la crítica internacional debido a su osadía discursiva y a la constante innovación formal que produjo a lo largo de una filmografía integrada por más de 70 títulos. Martes 15 y miércoles 16, 16:00, 18:00, 20:00 h DRAMA EL LIBRO DE LAS IMÁGENES D: Jean-Luc Godard. Suiza, 2018. d: 120 min. ¿Aún recuerdas cómo solíamos entrenar nuestro pensamiento? Casi siempre comenzábamos a partir de un sueño. Nos preguntábamos cómo pueden surgir en nosotros colores tan intensos en la oscuridad. No hay más que silencio. Nada excepto una canción revolucionaria. Con este tipo de reflexiones filosóficas se hilvana el más reciente largometraje de Jean-Luc Godard. Jueves 17, 16:00, 18:00, 20:00 h

No.1113. 110119

#ocio en linea #milenio diario jalisco #cine #videosalas

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laurent-bigot · 6 years

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De tous les metteurs en scène français dont la carrière prit son essor pendant l’occupation allemande, Jacques Becker est, avec Robert Bresson et Henri-Georges Clouzot, l’un des plus intéressants et des plus brillants. Pourtant ce cinéaste, tellement représentatif à certains égards de ce que le cinéma français peut donner de meilleur, est devenu réalisateur presque par hasard, et sans vocation véritable au départ.

Protégé de Renoir

Né en 1906 à Paris, ce fils d’un riche industriel parisien passait ses vacances en famille, tous les ans, à Marlotte. C’est ainsi que la famille Becker et la famille Renoir firent connaissance, et que, le moment venu, M. Becker père fut amené à recommander à Jean Renoir ce fils qui avait fait de bonnes études, mais n’était pas trop fixé sur son avenir et souhaitait alors “faire du cinéma”. Pour faire plaisir à un ami, Renoir engagea le fils, et l’utilisa pour la première fois dans Le Bled (1929). Puis, après une interruption consacrée à diverses besognes, Jacques Becker retrouva Renoir en 1932 et devint son assistant pour La Nuit du carrefour, rôle qu’il assura, pendant près de six ans, pour Boudu sauvé des eaux (1932), Chotard et Cie (1933), Madame Bovary (1934), La Vie est à nous (1936), Une partie de campagne (1936), Les Bas-fonds (1936), La Grande Illusion (1937) et La Marseillaise (1937). De temps à autre, Renoir s’amusait à confier à son assistant une silhouette dans ses films et ainsi peut-on l’apercevoir, notamment dans La Vie est à nous, œuvre collective (mais moins qu’on ne l’a dit, Renoir étant bien le vrai réalisateur). Becker se vit confier la caméra pour quelques plans de l’épisode campagnard interprété par Gaston Modot, et l’expérience se renouvela également dans La Grande Illusion.

DERNIER ATOUT de Jacques Becker (1942) avec Raymond Rouleau, Mireille Balin, Pierre Renoir, Georges Rollin, Noël Roquevert, Jean Debucourt

Ainsi faisait-il son apprentissage auprès du plus prestigieux et du moins dogmatique des maîtres, et sa manière en conserva toujours quelque chose. Entretemps, il s’essayait prudemment à la réalisation, notamment en coréalisant avec Pierre Prévert une pochade d’une heure d’après Courteline, Le Commissaire est bon enfant (1935). Le film marquait les débuts de producteur de son ami d’enfance André des Fontaines, qu’il retrouvera par la suite. En 1937, le parti communiste confia à Becker la réalisation d’un documentaire sur la réunion de son congrès national à Arles. C’était un choix assez curieux car, de tous les collaborateurs de Renoir au service du Front populaire, Becker fut certainement le moins engagé politiquement, ce dont toute la suite de son œuvre témoigne du reste éloquemment. En 1939, dix ans après ses premiers contacts avec le cinéma, Becker aborde enfin le long métrage. On lui confie la réalisation de L’Or du Cristobal d’après un roman de t’Serstevens. Le tournage fut chaotique, et le film interrompu, faute d’argent, puis repris et mené à bien par un autre réalisateur. Becker renia toujours ce film, qui, néanmoins, et contrairement à une légende tenace, sortit bien sous sa signature.

GOUPI MAINS ROUGES de Jacques Becker (1943) avec Fernand Ledoux, Georges Rollin, Blanchette Brunoy, Robert Le Vigan

De brillants débuts

Fait prisonnier en 1940, Becker fut libéré au début de l’Occupation et put enfin effectuer ce qu’il considérait lui-même comme ses débuts de metteur en scène. Ce fut avec Dernier Atout (1942), produit par son ami André des Fontaines. Après la désolante médiocrité de la production de l’année 1941, le film fut un des premiers de ceux qui marquèrent le surprenant réveil du cinéma français de l’Occupation, et il fut accueilli avec un enthousiasme extraordinaire. Becker fut tout de suite sacré grand cinéaste par la presse d’alors.

FALBALAS de Jacques Becker (1945) avec Raymond Rouleau, Micheline Presle, Jean Chevrier, Gabrielle Dorziat

Aujourd’hui, quand on revoit Dernier Atout, ce sont encore ces qualités qui frappent toujours. Après ce brillant début, Becker récidiva tout de suite après, avec Goupi-mains-rouges (1942), film paysan où il s’affirmait fidèle disciple de Renoir, par un souci de réalisme et de vérité des personnages, peu courant dans le cinéma d’alors. De Renoir aussi venaient certains éclats inattendus, certaines ruptures de ton, comme l’extraordinaire numéro de Le Vigan (dont ce fut le dernier grand rôle) en Goupi-Tonkin, ancien colonial alcoolique, au cerveau fêlé. Le film fut un des grands succès de l’année 1943-1944 et reste un des titres célèbres de la période. Un peu vieilli dans certaines de ses parties il reste excellent dans l’ensemble, surtout grâce à une galerie de figures, ayant toutes un relief extraordinaire. On y trouve déjà cet amour des personnages qui, de son propre aveu, fut une des marques caractéristiques du talent de Becker.

ANTOINE ET ANTOINETTE de Jacques Becker (1947) avec Roger Pigaut, Claire Mafféi, Noël Roquevert, Annette Poivre

Son troisième film de l’Occupation, Falbalas (1944), présenté après la Libération, fut moins bien accueilli par une presse qui n’était plus la même et par un public tout à la redécouverte du cinéma américain. C’est pourtant un film remarquable et moins vieilli encore que les deux précédents que cette peinture des milieux de la haute couture, malgré un scénario inégal. Les personnages, surtout féminins, sont d’un intérêt exceptionnel, et remarquablement servis par Micheline Presle et Gabrielle Dorziat. Enfin Falbalas est un des rarissimes films français d’alors qui soient explicitement “datés”, et dans lesquels se retrouve quelque chose de l’air du temps où il fut réalisé.

RENDEZ-VOUS DE JUILLET de Jacques Becker (1949) avec Daniel Gélin, Nicole Courcel, Brigitte Auber, Maurice Ronet

Antoine et Antoinette (1946) présentait toujours les mêmes qualités, mais sur le mode mineur. Le scénario était un peu mince, et la vie de ce couple d’ouvriers parisiens jeunes et sympathiques n’évitait pas toujours les pièges de la gentillesse facile et du populisme souriant. Restait un dialogue très brillant de Françoise Giroud, des personnages, comme toujours, pleins de vie et de chaleur humaine (inoubliable Roquevert en épicier salace), et une virtuosité technique à son sommet. Becker déclarait dans un entretien avec François Truffaut et Jacques Rivette: « C’est un film qui m’intéresse beaucoup techniquement, parce que c’est le plus découpé de tous ceux que j’ai fait (près de 1 250 collures) » [Cahiers du cinéma n° 32, février 1954)].

ÉDOUARD ET CAROLINE de Jacques Becker (1949) avec Daniel Gélin, Anne Vernon, Jacques François

Dans le même entretien, Becker se montrait plus sévère pour le film suivant, Rendez-vous de juillet (1949) où il prétendait avoir raté beaucoup de choses, et déplorait des passages très “pesants”, Il y a du vrai dans cette autocritique, et ce portrait de la jeunesse de Saint-Germain des-Prés, au lendemain de la guerre, n’est pas entièrement satisfaisant.

CASQUE D’OR de Jacques Becker (1952) avec Simone Signoret, Serge Reggiani, Claude Dauphin, Raymond Bussières

Des apaches aux truands

En revanche, les années 1951-1953 sont parmi les plus fastes de la carrière de Becker. Elles comportent deux comédies, qui sont autant d’exquises réussites Édouard et Caroline (1951) et Rue l’Estrapade (1953), et un drame qui est son chef-d’œuvre, Casque d’Or (1952). Les deux comédies portent assez fortement la marque d’une nouvelle collaboration de Becker, la scénariste dialoguiste Annette Wademant, qui ne retrouva jamais pareil bonheur. Elles montrent un Becker léger, heureux, épanoui et en pleine possession de son style. Ce Sont deux films très enlevés et très bien servis par leurs interprètes, Anne Vernon et Daniel Gélin. C’est entre ces deux œuvres d’une agréable vivacité qu’on a la surprise de trouver une œuvre d’un tout autre ton, grave, pathétique même à la fin, celle où l’on voit le mieux quel grand cinéaste fut Jacques Becker.

RUE DE L’ESTRAPADE de Jacques Becker (1953) avec Anne Vernon, Louis Jourdan :Daniel Gélin, Jean Servais, Micheline Dax

Et pourtant Casque d’Or , que tous s’accordent aujourd’hui à tenir pour un chef-d’œuvre, ne suscita pas un grand enthousiasme à son apparition. C’est un film qui a gagné son procès en appel, comme La Règle du jeu ou Pickpocket. Comme Becker le déclarait à Truffaut et Rivette, en 1954, « ce qui a gêné les gens dans Casque d’Or, c’est la lenteur du temps, l’absence de toute ellipse, l’abondance des temps morts ». Bref, exactement tout ce qui, à nos yeux, fait aujourd’hui le prix du film. Au moment où le langage cinématographique commençait à bouger, entre autres avec Fellini et Antonioni, Becker contribua à ce mouvement involontairement, en tout cas sans l’avoir prémédité. Il avait écrit le scénario lui-même, sauf le dénouement, pour lequel se trouvant “en panne”, il fit appel à Jacques Companeez, mécanicien chevronné. Il avait porté un soin extrême à tous les détails, au côté “avant-guerre 14”, à la vérité des dialogues, à la démarche étudiée de Simone Signoret, dont ce fut le plus beau rôle. La qualité plastique des images est très grande (superbe photo de Robert Le Febvre) et personne n’a oublié l’émotion poignante qui se dégage de la scène finale, l’exécution de Manda vue par les yeux de Casque d’Or, tandis que les premières notes du “Temps des cerises” viennent conclure le drame.

TOUCHEZ PAS AU GRISBI – Jacques Becker (1954) – Jean Gabin, René Dary, Jeanne Moreau, Dora Doll, Denise Clair et Lino Ventura

Après ce chef-d’œuvre, Touchez pas au grisbi (1954). Si le film est resté en bonne place dans la mémoire des cinéphiles, c’est évidemment moins pour ce qui relève proprement au film de genre que ce par quoi il s’en éloigne ou s’en différencie. Malgré son souhait de retrouver le public, Becker n’oublie pas pour autant d’affirmer son style. S’il respecte, notamment dans l’épilogue, les impératifs du film de gangsters (il y a effectivement une poursuite en voiture entre deux bandes rivales, des coups de mitraillette, des morts… ), la première moitié du récit montre qu’il s’intéresse surtout à décrire, comme à l’habitude, ses personnages dans leur quotidien. On retrouve encore ici cette volonté du cinéaste de s’éloigner des conventions narratives habituelles et des effets de dramatisation caractéristiques du genre, au profit de ces scènes où les personnages existent en dehors de l’action.

ALI BABA ET LES QUARANTE VOLEURS de Jacques Becker (1954) avec Fernandel, Samia Gamal, Dieter Borsche, Henri Vilbert, Édouard Delmont

Puis Becker tourne Ali-Baba (1954). Il s’agit d’une pure œuvre de commande, où Fernandel prodigue des grimaces qui, même à l’époque, n’amusèrent presque plus personne. Ce film a un mérite, celui de marquer la première rencontre de Becker avec la couleur. On trouvera davantage de charme aux Aventures d’Arsène Lupin (1956), mais c’est encore un film mineur, dont le scénario, écrit par Becker et Simonin, est très librement inspiré du héros de Maurice Leblanc. François Truffaut, qui professait pourtant une grande admiration pour Becker, n’en devait pas moins critiquer avec la dernière sévérité ce film « qui n’a pas de ligne, pas de rythme, pas de souffle, et où l’on passe son temps à regarder les bibelots, les fauteuils, la baignoire, le gramophone, les vêtements ».

LES AVENTURES D’ARSÈNE LUPIN de Jacques Becker (1957) avec Robert Lamoureux et Liselotte Pulver

Une démarche bressonienne

En 1958, Becker se retrouva enfin à son vrai niveau avec Montparnasse 19, biographie de Modigliani, que la mort avait empêché Max Ophuls de réaliser. Ce film dépouillé, ennemi de l’anecdote et du pittoresque, trouva peu de défenseurs, hormis Jean-Luc Godard et Jacques Rivette, et sombra dans l’incompréhension générale. Même la présence de Gérard Philipe dans le rôle principal ne parvint pas à lui gagner la faveur du public. La critique y vit l’amorce d’une évolution “bressonienne” de Becker, ce qui n’était pas entièrement faux ; Becker avait toujours dit son admiration pour Bresson, « le metteur en scène français qui a le plus de goût », et, en 1945, il avait même écrit un article pour défendre Les Dames du bois de Boulogne, voué à l’opprobre général. Montparnasse 19 subit un sort analogue et demeura le plus incompris de ses films. Il ne restait à Becker qu’un dernier film à réaliser avant sa mort survenue au début de l’année 1960…

MONTPARNASSE 19 (ou LES AMANTS DE MONTPARNASSE de Jacques Becker (1958) avec Gérard Philipe, Amedeo Modigliani, Lilli Palmer, Lea Padovani, Gérard Séty, Lino Ventura, Anouk Aimée

Ce fut Le Trou (1959), le « plus grand film français », comme l’écrivit Jean-Pierre Melville, dans un article qui parut après la disparition du réalisateur. L’hommage était un peu outré, mais il est vrai que Le Trou fait partie des meilleurs films de Becker, avec Casque d’Or, Falbalas et Touchez pas au grisbi. A la sortie, on le compara souvent à Un condamné à mort s’est échappé de Bresson, comparaison aussi tentante (à cause de l’analogie du sujet) que superficielle. Mais Le Trou, œuvre austère à l’émotion contenue, confirmait bien l’évolution stylistique, révélée dans Montparnasse 19, et dont, après coup, on peut entrevoir certaines prémisses dans Arsène Lupin.

LE TROU de Jacques Becker (1960) avec Philippe Leroy, Marc Michel, Michel Constantin, Jean Keraudy, Raymond Meunier

Fauchant le cinéaste en pleine maturité, à cinquante-quatre ans, la mort nous a privés de son œuvre de vieillesse, dont nous ne savons pas ce qu’elle aurait été, et on en est réduit aux suppositions. S’il fallait en hasarder une, on serait tenté de dire que ce goût de la perfection intransigeante, apparu dans ses derniers films, semblait devoir le rapprocher, moins de Bresson que peut-être de Fritz Lang et de certains cinéastes américains. Mais peut-être aurait-il encore réservé d’autres surprises, car il admirait aussi Ophuls et Cocteau… Et au moment de sa mort, il rêvait de tourner « Les Trois Mousquetaires », ce que personne n’a jamais vraiment réussi.

Dans le numéro d’hommage des Cahiers du cinéma d’avril 1960, on trouve des phrases justes et émues de Cocteau, de Renoir ou de Jean Aurel. Mais la plus juste est celle, assez étonnante aujourd’hui, de Jean-Luc Godard : « Seul Jacques Becker était et restait français à la française, français comme la rose de Fontenelle et la bande à Bonnot. » Il est curieux de voir, dans le cinéma français plutôt dévalué de l’après-guerre, comme Becker et ses films ont toujours exercé une attirance sur les Jeunes-Turcs d’alors, sans jamais faire aucune démagogie, aucune concession aux modes du moment, simplement en restant fidèle à une certaine idée de l’artiste et de sa mission, apprise sans doute chez Renoir, mais venue de beaucoup plus loin. C’était un beau témoignage d’admiration et de respect que lui rendait Truffaut, lorsqu’il concluait un article de 1954 par ces mots : « La réussite de Jacques Becker est celle d’un jeune qui ne concevait pas d’autre voie que celle choisie par lui, et dont l’amour qu’il portait au cinéma a été payé de retour. »

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De tous les metteurs en scène français dont la carrière prit son essor pendant l'occupation allemande, Jacques Becker est, avec Robert Bresson et Henri-Georges Clouzot, l'un des plus intéressants et des plus brillants. Pourtant ce cinéaste, tellement représentatif à certains égards de ce que le cinéma français peut donner de meilleur, est devenu réalisateur presque par hasard, et sans vocation véritable au départ. De tous les metteurs en scène français dont la carrière prit son essor pendant l'occupation allemande, Jacques Becker est, avec Robert Bresson et…

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