Bertrand Tavernier's comments about British films

[moonfleet]

Classiques passés et futurs - 4 juillet 2011 par Bertrand Tavernier - DVD


Traduction (français > anglais)



I do not know where to place the box Basil Dearden, London Underground just released in Eclipse. These are not rarities, many of these films were major commercial successes. These are not classics, no copyright status has been attached to Dearden, technician appreciated sometimes effective, sometimes anonymously. Yet several of his films hold up and there was his desire, throughout his career, to address serious themes, not always in fashion (FRIEDA is good example) to impose a content, a more realistic note that as THE BLUE LAMP whose ponderous narration, dated, sometimes eclipse real qualities in the choice sets, secondary characters, in the way of framing certain sequences. These qualities are increased tenfold in the excellent POOL OF LONDON which is already affecting race relations, if any taboo subject and develops a real force in SAPHIRE forgets Filmmaker Oliver Pattenden, pointing what brings movies this case three of which are among the best of previous works Dearden. It shows how The League of Gentlemen, good heist story, well written and beautifully played, subverts, inverts many codes of British society. In SAPHIRE, racism is described as a disease that spreads everywhere, not dramatically, but more insidious perverts all reports, racism shown by both whites and blacks without being able to talk about shared responsibility. Pattenden Dearden noted that does not these subjects as a social more or less exceptional, but as something everyday that poisons the air and wondered if this description is no more sharp as social? (Acute) than we found in the "kitchen dramas" on Tony Richardson, Style A Taste of Honey. A must if only for VICTIM, another beautiful scenario Janet Green (collaboration with Lucas Heller dialogues SAPHIRE) who wrote the GIPSY Losey, CHINA BORDER Ford.

Because this Google translation may not be accurate, have your own...

[ Je ne sais pas où placer le coffret Basil Dearden, London Underground qui vient de sortir chez Eclipse. Ce ne sont pas des raretés, plusieurs de ces films ont été de gros succès commerciaux. Ce ne sont pas non plus des classiques, nul statut d’auteur n’a été attaché à Dearden, technicien apprécié parfois efficace, parfois anonyme. Pourtant plusieurs de ses films tiennent le coup et on a noté son désir, tout au long de sa carrière, d’aborder des thèmes sérieux, pas toujours à la mode (FRIEDA en est bon exemple) d’imposer un contenu, une approche plus réaliste qu’on note dès THE BLUE LAMP dont la narration pesante, datée, éclipse parfois de vraies qualités dans le choix des décors, des personnages secondaires, dans la manière de cadrer certaines séquences. Ces qualités sont décuplées dans l’excellent POOL OF LONDON qui touche déjà les rapports entre les races, sujet tabou s’il en est et que développe avec une vraie force SAPHIRE qu’oublie Olivier Pattenden dans Cinéaste, qui pointe ce qui rapproche les films de ce coffret dont trois sont parmi les meilleurs, des précédentes œuvres de Dearden. Il montre comment THE LEAGUE OF GENTLEMEN, très bonne histoire de hold-up, bien écrite et superbement jouée, subvertit, inverse bien des codes de la société britannique. Dans SAPHIRE, le racisme est décrit comme une maladie qui s’étend partout, pas de manière spectaculaire, plus insidieuse mais pervertit tous les rapports, racisme dont font preuve aussi bien les blancs que les noirs sans qu’on puisse parler de responsabilité partagée. Pattenden note que Dearden ne traite jamais ces sujets comme un fait de société plus ou moins exceptionnel mais comme quelque chose de quotidien, qui empoisonne l’air et il se demande si cette description sociale n’est pas plus aiguée ? (aigüe) que celle que l’on trouvait dans les « drames de cuisine » à la Tony Richardson, style Un Goût de Miel. A voir absolument ne serait ce que pour VICTIM, autre beau scénario de Janet Green (Lucas Heller collabora aux dialogues de SAPHIRE) qui écrivit GIPSY de Losey, FRONTIÈRE CHINOISE de Ford. ]

[theuofc]

Bertrand Tavernier Goes to the Movies: Tavernier will introduce films by six directors at the Montreal World Film Festival this month.


I've uploaded more information at the Bogarde thread:


http://www.britmovie.co.uk/forums/ac...ml#post2016461

[moonfleet]

As I said before: thanks for the link

[theuofc]

As I said before: thanks for the link

You are welcome. Tavernier is always such an interesting writer on film.

[moonfleet]

http://www.tavernier.blog.sacd.fr/additifs-films-noirs/

Chronique du 31 Août 2011
[have your translation]



ADDITIFS CINEMA ANGLAIS



Je reviens sur une œuvre dont j’ai longtemps ignoré l’existence, THUNDER ROCK des frères Boulting, réalisé et monté par Roy Boulting et produit par John.
Le scénario du a l’acteur Bernard Miles homme très engagé politiquement et qui réalisa deux ou trois films ambitieux et assez originaux, est tiré d’une pièce de Robert Ardrey (L’IMPERATIF TERRITORIALl, AFRICAN GENESIS et plein de scénarios dont les 3 MOUSQUETAIRES DE SIDNEY et L’AVENTURIER DU RIO GRANDE de Robert Parrish) ce qui explique le coté théâtral et parfois solennel du film.
Michael Redgrave vit en solitaire dans un phare d’où tente de le sortir son pote James Mason, aviateur qui veut s’engager avec les Chinois contre les Japonais. Mais Redgrave préfère rester dans sa tour.
Il a voulu, des années avant, alerter le monde sur tous les dangers que représentaient les différents fascismes, tel Orwell et dégoûté de l’indifférence, de la Censure renonce et se retire du monde. Là, il est rejoint par des fantômes. Un groupe de passagers et leur capitaine très bien joué par l’inusable Finlay Currie qui se sont noyés dans un naufrage en 1849. Mais, paradoxalement, son propre découragement les stimule, les fait « revivre ». Il devra apprendre à puiser dans le passé pour affronter le présent.
Sujet ultra curieux, quasi unique à l’époque (le film est de 1940 et Roy Boulting s’engagera comme documentariste ou il dirigera Désert Victory qui est intéressant. On doit aux deux frères plusieurs films que j’aime, BRIGHTON ROCK, 7 DAYS TO NOON, I AM ALL RIGHT JACK ou Peter Sellers était sublime en leader syndical tyrannique et obsessionnel.
Le film est guindé au début, tout en restant extrêmement curieux et original dans le style débat d’idées, idées pas mal évacuées des écrans à l’époque (C’est un film unique sur le rapport à la nation comme tant de films anglais de ces années de guerre). Le décor pèse un peu trop mais le film se bonifie dans les flashes back (il y en a un dans un cinéma qui est même étonnant) et les confrontations avec les fantômes sont filmées avec sobriété et très bien jouées. Boulting déclare que c’est dans ce film qu’on passe dans un même plan, sans fondu, du présent au passé. Longtemps avant Angelopoulos.
Autre film unique et plus récent, le magnifique WINNIPED MON AMOUR de Guy Maddin, promenade somnambulique dans Winnipeg, dérive introspective, autobiographique qui se sert d’une ville pour évoquer, conjurer des fantômes, déplorer des saccages en les reliant à des expériences personnelles. C’est le compagnon idéal de OF TIME AND THE CITY de Terence Davies

[moonfleet]

Monsieur Tavernier's last comments about some British War Films... have your translation

Films Anglais : John Guillermin / La Guerre

[Elaine]

This link leads to what seems to be a very interesting article, and if I could speak French, I'm sure I would have enjoyed Tavernier's valued remarks. Anyone out there who can translate?

[moonfleet]

Hi Elaine

First I posted Google translations of the whole comments, but it appears not to be accurate or to be contresensique, so I thought it was better that english speaking folks look for their own, but yes, if anyone knows a good translation site, I'm interrested too

[Steve Crook]

Hi Elaine

First I posted Google translations of the whole comments, but it appears not to be accurate or to be contresensique, so I thought it was better that english speaking folks look for their own, but yes, if anyone knows a good translation site, I'm interrested too

Google translate doesn't translate contresensique

It's generally good enough to give the gist of the translation even if it's not perfect

But I would have thought that "Big Bertie" would offer an English version of his blog. He speaks reasonable English and he must be aware that he has readers around the world.

It's not like the French to be so Chauvinist

Steve

[moonfleet]

Google translate doesn't translate contresensique

It's generally good enough to give the gist of the translation even if it's not perfect

But I would have thought that "Big Bertie" would offer an English version of his blog. He speaks reasonable English and he must be aware that he has readers around the world.

It's not like the French to be so Chauvinist

Steve

Because I asked Mr Tavernier for permission to post his comments here, he said he didn't like the Google translation, so as it's easy to find a translation site... Google Translate is not that bad, but some words "basic translation" leads to be contresensique
As he is very productive with chatting on his blog, I don't think he has the time to care for translations
This said, he could of course look for some web translation services...

PS: If you post comments in english on his blog, he'll respond to you in your native tong

[moonfleet]

Fresh niews from Bertrand Tavernier...

DVDBlog, par Bertrand Tavernier

With the help of Google translation that, I must admit, I didn't chek


Films Britanniques

6 février 2012 par Bertrand Tavernier - DVD



By reviewing films for the British black Malle treasure of December, I discovered a sub-genre that, to my knowledge, has been little studied: the movie criminal black market that includes many titles, especially between 1945 and early 50's. The most famous, the most archetypal, of course, THE THIRD MAN who takes the shot really well. The typical Graham Greene irony, skepticism humanist Carol Reed (who fought to force the music in the version we hear, denying the orchestrations, performances by prestigious soloists) were often ignored. We include the magnificent course it always rains SUNDAY with these great characters of frustrated women and love, these schemers, these shelters, these criminal idiots. And the photo of Douglas Slocombe.
Loved review POOL OF LONDON, well directed by Basil Dearden who, from a history of cigarette smuggling and low drift to topics that were not addressed at the time: the friendship between a Black (Earl Cameron) and White (Bonar Colleano, excellent and who died too young and has a hand Stanley Baker), racism very present in England. There's even an interracial romance between Cameron and the sweet Susan Shaw, treated with levity, without ostentation. The script by John Eldridge and Jack Whittingham tipped the hero, almost unconsciously, into the world of crime. The black market shenanigans lead to diamond smuggling. There is a very original heist, which uses the spectacularly real location: the London yet ravaged by bombings, the streets almost empty. This gives a surprising tone for car chases. Dearden was a truly great outdoor specialist (see THE BLUE LAMP), he knew very well filmed. It describes a large number of sets, locations very revealing and very responsible dramatically: music hall of the third order, disreputable pubs, road tunnel, the docks. As in most other movies, night photography is exceptional. Carles Barr saw the apotheosis POOL OF LONDON qualities of Ealing, this sober humanism that showcases the tenacity, the courage of "public servants".
When I think we reproached him to address in very good SAPPHIRE, the theme of racial problems with too much delay. Obviously, these great minds do not know POOL OF LONDON. There is a bitterness in SAPPHIRE. Earl Cameron (again) to the inspector: "You know, for 38 years that I'm black," implying that he has no confidence in the police. The screenplay by Janet Green (VICTIM, 7 WOMEN) and Lukas Heller, who works for Aldrich, autopsy climate of hatred and bigotry that led to the murder of the young woman.
I return to the black market with remarkable THEY MADE ME A FUGITIVE Alberto Cavalcanti, dialogued with great nervousness, a real invention by Noel Langley. Trevor Howard, beautiful but of course, plays an older driver involved in a coup, is trapped and wants revenge. From the beginning Cavalcanti blurs pins. His hero is not the most advisable and vindictiveness that inspires reveals the dark side. The end refuses the happy ending seems pretty black and waited. Along the way, he meets strange characters, terrifying, like this woman who asks him to kill her husband. There, as in WENT THE DAY WELL, flashes of violence. Physical confrontations ultra nasty (the final battle) surprising. And also sarcastically point out that framing baroque, syncopated, surprising angles, punctuation ironic: the store of undertakers called "Valhalla of the funeral." The camera frame signs, signs pointing out that death is near, it is not much time. There is a violence that will disappear in British cinema up GET CARTER. Music by Marius-François Gaillard (1900-1973) who wrote the score for EL DORADO Lherbier and the rebel.
NOOSE is typical of the talented staff of Greville and if it was possible to compare his description with that of Soho FORBANS THE NIGHT it two years before: same traffic, same scams that lead to violence and crime. Joseph Calleia could be an Italian cousin (he was Maltese) Herbert Lom and wrestling refers to boxers NOOSE. The comparison ends, because sometimes Greville chose a curiously light (Carole Landis, extremely well photographed, ever loses his shoes) that defuses the tension of continuity, with gags more or less welcome, a style of play sometimes dramatically theater (Calleia, who made a ton, and Nigel Patrick is amazing, extraordinary, steals the movie), there are also beautifully framed plans of violence (the murder of a young woman in a boxing gym), visual ideas surprising, dazzling ellipses, of bold framing (speaking on Calleia terrible barber who serves as his executioner in a staircase; Annie realizing that she is in danger: it is filmed against diving and above it, we see of polished tiles, framing that evokes Powell of THE SMALL BACK ROOM). But what moves me, what are these plans, these scenes of young women as now seemingly useless when the beautiful Ruth Nixon enters the night club during that Olive Lucius sings a song in French: a girl puts on makeup, servers sit, a maid rubs the ground and a murder will take place that results in a stole Greville sliding on the ground.
THE LONG MEMORY found only in a cabinet dedicated to John Mills, is a real find. Again, this is a revenge against a background of traffic. This film was placed in the declining period of Robert Hamer who was an alcoholic. It does not feel at all here. Instead, the division is a sharpness, an absolutely staggering invention and the result is infinitely superior to FATHER BROWN. Hamer captures the exteriors of which are surprising, with a sharpness, a lyricism rare in British cinema of the time. The staging plays constantly on the relation to space as well in a small bar (the sudden appearances of different characters in the plane, always dynamic and surprising) that in the external and worthy of further Losey. One of the peaks of the film is that long night scene where John Mills waited outside a house a witness, which is embroiled in a terrible family quarrel: the position of Mills, police, the journalist, the beauty of the night shot, while it gives an incredible force to the scene, a domestic violence.
A British film yet. Doriane just released in France last HIGH HOPES, one of the earliest and best Mike Leigh. Less creepy than the desperately awful BLEAK MOMENTS, the film nevertheless contradicts the optimism of the title but managed by its accuracy, its ratings stripping, to move us, make us smile, make us live with his heroes. Anthology is the beginning and I remember admiring amazement of Jane Birkin to whom I showed the film.
I also discovered the very exciting adaptation of Phillip Noyce The Quiet American by Graham Greene that totally contradicts the version of Mankiewicz that I loved. Noyce and Christopher Hampton are much more faithful to the novel and splendid meet the political vision of the author who, with rare prescience, denounced the killings, bombings in the name and under cover of a hypothetical 3rd Force (Dada Americans ), by the CIA. This is consistent with historical truth. Mankiewicz, him, put these crimes on the back of the Communists. It would be fascinating to compare the two versions. Let's say Michael Caine, beautiful, seemed to match the brilliant Michael Redgrave, Brendan Fraser that is very different from Audie Murphy and the beautiful Do Thi Hai Yen outperforms Giorgia Moll, brave actress who had nothing to Eastern . Only regret the virtual disappearance of the Commissioner Vigot, so finely played by Claude Dauphin unbalances the film.
Very good article by Peter Charrel of TIME magazine BLACK DVD CLASSIK on the essential package released by Alan Clarke POTEMKINE:
"Alan Clarke however, does not sound (TV) viewer powerless faced with the conundrum Elephant, offering actually elements of understanding through the staging. Disparate as their protagonists and their modus operandi, the eighteen murders Elephant are each narrated with the same visual grammar. The tracking shot, which is most photographed steadicam, constitutes the first element recurring. Thus Alan Clarke restores walking after which the killers meet their victims. Never losing sight of the characters and filmed - the director frequently combining the close-in tracking shot - the camera follows a long anonymous assassins in their wanderings. Their movements are fluid - they are moving at a steady speed, whose regularity is emphasized by the pounding of their feet - and inexorable - no obstacle is impeding their progress. Playing in addition to directing actors - the murderers are systematically a face devoid of any trace of emotion - Alan Clarke departed and executors of their humanity. This could be seen semblances of humanoid machines. Or even viral entities that spread through the body formed by the urban area of ​​Belfast, infecting all the components. Whether public (service station) or private (one home), open (a park) or closed (a desktop), assigned to the occupation (a company) or recreation (swimming pool). And so it is a terrifying realization that stands Elephant by sheer force of his production: namely the complete submission of the world to violence; it will be developing further in the manner of a bacillus.
Such a demonstration was already at the heart of both versions of Scum and Made in Britain and The Firm. Like Elephant, each of these works depicts indeed a human order in which violence is the cardinal element. It governs the entire house of correction in which is imprisoned Carlin (Ray Winstone), Scum of which the juvenile offender is his hero. The government exercised by the administration of juvenile detainees is particularly brutal. Both verbally - note in passing that when the films of Alan Clarke are "talking", dialogues participate fully in their power of impact - physically. And it's the same savagery multiforme - dimension homophobic insults and / or racist, threats of aggression ... but almost always performed as rape - which is the common form of relationship between the inmates themselves.
Made in Britain is, in turn, similarly mirrored the criminal violence and the state institutions that are responsible. Trevor, a skinhead teenager masterfully portrayed by Tim Roth, is a terrifying condensed verbal aggression - the movie made, among others, scandal by repeated use of the word "fuck" as recalled by the writer David Leland in bonuses - and Physical: Trevor vandalized, Trevor hits. Powerless to address this violence, members of social services can not resist the young man that coercion and intimidation. Then, when those say they are defeated, the young skin then passes into the hands of a police inflicting - the secret of a cell - an exactly similar to that violence perpetrated by the "jailers" Scum. "