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
Sunday, September 18, 2016
a "masterpiece," as David Thomson calls it, or "pretentious poppycock," as Bosley Crowther, the New York Times critic, called it. I trust Thomson's judgments far more than those of Crowther, a notorious fuddy-duddy, but I prefer to think of the film as not "either/or" but instead "both/and." It's certainly not poppycock in any case, especially in its depiction of adolescence as a kind of fever dream, and the way incest flickers around the relationship of Paul and Elisabeth like heat lightning. But there is certainly a whiff of pretentiousness in the voiceover narration (by Cocteau himself) that hammers home the folie à deux of the siblings, which is apparent without any comment. If it's a masterpiece, which I'm not entirely confident in calling it, it becomes one from Melville's staging, in collaboration with production designer Emile Mathys, Henri Decaë's cinematography, and especially the performance of Stéphane, whose invocation of Lady Macbeth in one scene makes me wish she had played the part on film. Melville didn't want to cast Dermithe, Cocteau's lover, in the role of Paul, and I think he was right. At 25, Dermithe was too old and too sturdy to play the neurasthenic 16-year-old who is felled by a snowball. But Renée Cosima is impressive in the dual role of Dargelos, the schoolboy who throws the snowball, and Agathe, who falls into Elisabeth's clutches as a weapon with which to torment her brother.