A movie log formerly known as Bookishness / By Charles Matthews
"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Monday, July 11, 2016
Shoot the Piano Player (François Truffaut, 1960)
Jules and Jim (1962). Still, we have a wonderfully engaging performance by Charles Aznavour as the titular pianist, Charlie Kohler aka Edouard Saroyan. We also have a perfectly fitted score by Georges Delerue and cinematography by Raoul Coutard that often betrays Truffaut's love of Alfred Hitchcock. Watching Shoot the Piano Player, it's easy to see why Truffaut was the first person approached to direct Bonnie and Clyde (Arthur Penn, 1967), with its similar oscillations in tone.