Nine Bob Note
Self-Isolating before it was fashionable
Finished Amsterdam Vice (Walter Presents, All4). First WP I've watched through and loved it
If any film-maker was a living, breathing, flesh-and-blood icon of French cinema, it was Bertrand Tavernier, the legendary, prolific director and a proud son of Lyon – which was itself arguably the historical epicentre of cinema, as the city where Auguste and Louis Lumière set up business. In 2017, I went to the Lumière festival in that city, and was briefly introduced to him there. Tavernier’s presence was indispensable: I have a photograph of a raucous dinner hosted by Thierry Frémaux with Benicio del Toro and Alfonso Cuarón, and Tavernier is an impish, grinning figure to be glimpsed in the mirror, loved by everyone there, a sprightly tutelary deity.
Ah, that's sad. I saw him do an intro and Q&A at the BFI to his My journey through French cinema a few years ago.The excellent French director Bertrand Tavernier has died.
His Coup de Tocuhon is for me the best adaptation of a Jim Thompson work (Pop. 1280) in cinema. Captain Conan is an excellent WWI film, and his last two non -documentary films The Princess of Montpensier and The French Minister are both very good.
(Wasn't really sure where to put this, don't think it would get much interest on its own thread. What do people think about a "cinephiles" type thread, for posting things like this as well as film discussion?)
IIRC, he reports Gabin being very scathing about Renoir, saying he was practically a collaborator. I think Tavernier was a Communist at least at one time.And his films (at least those I've seen) had a decent political bent too.
I'll check the docu out Sue , cheers
The excellent French director Bertrand Tavernier has died.
Tavernier’s presence was indispensable: I have a photograph of a raucous dinner hosted by Thierry Frémaux with Benicio del Toro and Alfonso Cuarón, and Tavernier is an impish, grinning figure to be glimpsed in the mirror, loved by everyone there, a sprightly tutelary deity.
I’ve been wondering if I should rewatch The Wire. I don’t think I really got it first (only) time.It's a TV series' episode rather than a film, but I did watch it on DVD. I'm currently going through The Wire for the umpteenth time. I tend to rewatch it every year or so.
I’ve been wondering if I should rewatch The Wire. I don’t think I really got it first (only) time.
Anyway, I'm also watching The Larry Sanders Show on DVD, too.
Halfway through season 10 of The Walking Dead. This, and the previous season are a big improvement on the tired 7 and 8.
I’ve been wondering if I should rewatch The Wire. I don’t think I really got it first (only) time.
Anyway, I watched The Sisters Brothers. Excellent.
4th?Did my 4th Wire rewatch last year. It was as magnificent as ever.
Alpha Papa. I don’t know why but despite loving Partridge I just don’t like him in the big screen format. I saw this film on a plane several years ago and felt the same way, my opinion hasn’t changed.
Alpha Papa. I don’t know why but despite loving Partridge I just don’t like him in the big screen format. I saw this film on a plane several years ago and felt the same way, my opinion hasn’t changed.
Come on, rubbershoes, the only approved response for this is, of courseThat's bollocks, but go on
Rango. It really is a fantastic animation film; superb look and drawings, great soundtrack, and a good storyline that works for both children and grown-ups.
Even though it was critically acclaimed, did well at the box office and won the Oscar for best animated feature, it feels to me it has flown under the radar compared with any old shit Disney/Pixar releases.
Just wait until you get to the new short 'filler' series.
Am struggling with Fear the Walking Dead, it went weirdly off kilter after season 3, but hear it's improved lately
I stopped that at the end of S4.
Both men loved British cinema more than most Brits, taking up the cause of Michael Powell when he had fallen from grace after the scandal of Peeping Tom. Tavernier was proud of his casting of a crotchety Dirk Bogarde in These Foolish Things (Daddy Nostalgie, 1990), and wasn’t afraid to challenge the actor when he tried to rule the set, thereafter earning his respect (years before, Tavernier had also dared to confront Stanley Kubrick, who drove him crazy when Tavernier was working as a publicist for A Clockwork Orange).
More significant was his final production, a documentary and television series examining the history of French cinema, A Journey Through French Cinema (Voyage a travers le cinema français, 2016). Tavernier’s approach was unashamedly personal, following the line of Scorsese’s explorations of American and Italian cinema, with an authoritative voiceover binding together a huge range of film extracts. This seemingly never-ending project revealed both his strengths and prejudices, as Tavernier made little reference to the silent period and had no apparent sympathy for anything escapist. Just as in his own films, Tavernier was only really interested in a cinema that demonstrated a social or political engagement. It was an attitude from which he never wavered.