A blog 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

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Showing posts with label Jacques Rozier. Show all posts
Showing posts with label Jacques Rozier. Show all posts

Tuesday, July 8, 2025

Adieu Philippine (Jacques Rozier, 1962)

Cast: Jean-Claude Aimini, Stefania Sabatini, Yveline Céry, Daniel Descamps, Vittorio Caprioli, David Tonelli, André Tarroux, Christian Longuet, Michel Soyet, Arlette Gilbert, Maurice Garre. Screenplay: Michèle O'Glor, Jacques Rozier. Cinematography: René Mathelin. Film editing: Monique Bonnot, Claude Durand, Marc Pavaux. Music: Jacques Denjean, Paul Mattei, Maxime Saury. 

The Nouvelle Vague loved its threesomes, but the dynamic in Jacques Rozier's Adieu Philippine is different from the more famous ones in François Truffaut's Jules and Jim (1962) and Jean-Luc Godard's Bande à Part (1962). Instead of two men and one woman, Rozier gives us two women and one man. Otherwise, it walks the same sexual tightrope, juggling the same ideas about what it means to be free in a world that seems determined to stifle that freedom. 

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