By Roger Ebert
Like a full-bodied Bordeaux wine, Roger Ebert's booklet unique 25 nice French movies will gift you with a wealthy number of full-length studies of cinematic reviews. From such classics as Belle de Jour, Day for evening, and The four hundred Blows to the sweeping drama (and attractive scenery!) of Jean de Florette and its sequel Manon of the Spring, this publication offers an ideal primer for these new to French movies and a welcome refresher direction for precise Francophiles. And, as an additional charm, many of the stories are observed with a clip of the movies' trailers, together with gem stones like Mr. Hulot's vacation and Jules and Jim.
About the Author
Roger Ebert is the Pulitzer Prize-winning movie critic from the Chicago Sun-Times. His studies are syndicated to greater than 2 hundred newspapers within the usa and Canada. the yank movie Institute and the varsity of the artwork Institute of Chicago have presented him honorary levels, and the net movie Critics Society named his site, rogerebert.com, the easiest on-line movie-review website.
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Additional resources for 25 Great French Films (Ebert's Essentials)
The fact that most directors do not write their own scripts," Sarris counters, "is enough to discredit the role of the director in the eyes of the literary establishment," and, one might add, in the eyes of critics of Kael's persuasion. " Furthermore, a director can still be considered the author of his succession of films, whether he has had a direct hand in script preparation or not, if he has consistently chosen material that is in keeping with his own personal vision and directorial style.
But I did write it, Ken,' he protested. "' Pauline Kael's other basic objection to the auteur theory is that it is ultimately a defense of the Hollywood studio system, because it suggests, as I have already noted, that many directors have become genuine artists while working within the factory atmosphere of a large Hollywood studio. "5 Film making, it is true, involves a whole host of individuals, from actors to technicians, who collaborate with the director on a movie, a fact that more than one of the directors in this book reminds us of.
Instead of trying to upgrade the quality of their films, the studios first turned to technical innovations as a possible way of saving their audience. Thus Hollywood seemed convinced that a wider screen with the old traditional plots acted out on it would do the trick. But movie audiences continued to defect to TV. Since, by the early 1950s, television was providing more than enough routine entertainment, the potential moviegoer was becoming more and more discriminating in choosing film fare. The big studios were at a loss to know what kind of films to make, and so they began turning to independent producer-directors, whom they allowed to lease studio space to make their own films.