Bertrand Tavernier's comments about British films

[moonfleet]

Chronique du 21 Avril

http://www.tavernier.blog.sacd.fr/do...s-et-westerns/


(translated via Google Traduction)


THE WOMAN IN QUESTION/Asquith


I finally saw THE WOMAN IN QUESTION Anthony Asquith film traces the criminal portrait of a young fortune teller who was murdered in a seedy hotel, across five conflicting testimony that the paint sometimes as a woman row, sometimes as a prostitute, sometimes as a social climber or someone who is exploited. And of course all the other characters change with them. The film was released in 1950 as Rashomon, a year after 7 SINS OF THE FARM Jean Devaivre, plus CITIZEN KANE.
More than the resolution of criminal intrigue, we feel that it is the narrative experimentation that inspires Asquith: back and forth in time, changes in the costumes, the scenery from the point of view, the narrator, flashbacks introduced and interrupted - sometimes in the middle of a scene - with sound effects, a cut editing bold for its time. Another real quality, the use of the frame - a small seaside town in half deserted, crossed by a train. The hotel which hosts most of the interrogations must be located very near the tracks which we owe to sudden eruptions of smoke, striking effects qu'Asquith uses very cleverly behind the window of the rooms, accented by the noise of the train. The actors playing style also changes depending on your point of view, Jean Kent seems a little grotesque in the first episode and then turns gradually. She is excellent in the episode that follows the perspective of his sister. Dirk Bogarde is very beautiful, but it sometimes feels embarrassed by the fact of playing an American.


MORGAN/Reisz

Another British film that I should mention: Morgan, A Suitable Case for Treatment, beautiful film Karel Reisz I never tire of rediscovering. The sequences at the grave of Karl Marx anthology. Brilliant dialogue by David Mercer.

THE WORLD TEN TIMES OVER/Rilla

THE WORLD TEN TIMES OVER, written and directed with flashes of style by Wolf Rilla (the director of the Village of the Damned, which I find overrated became hotelier and restaurateur in south eastern France) spoke of two prostitutes for the film euphemistically renamed "hostesses. " The film was nevertheless prohibited to minors, to less than 12 years now. Yet it is very chaste and the two actresses are not stripped at all. June Ritchie is doing the least with a rather frustrating and monotonous way of writing. Sylvia Syms is the gracious and the best scenes where she confronts her father who refuses to see, understand its business are among the most successful. Starting with that night stroll in Soho William Hartnell amid signs, neon signs publicizing sexual multiple offers. The sequence has few parallels in British cinema of the time (1963). The variety and importance of the external is also the main interest of this work.

[batman]

Tavernier's comment about Dirk Bogarde's 'embarrassment' is misplaced. In The Woman in Question his character is just pretending to be an American.

[theuofc]

Chronique du 21 Avril

(translated via Google Traduction)

Traduction (français > anglais)


THE WOMAN IN QUESTION/Asquith


I finally saw THE WOMAN IN QUESTION Anthony Asquith film traces the criminal portrait of a young fortune teller who was murdered in a seedy hotel, across five conflicting testimony that the paint sometimes as a woman row, sometimes as a prostitute, sometimes as a social climber or someone who is exploited. And of course all the other characters change with them. The film was released in 1950 as Rashomon, a year after 7 SINS OF THE FARM Jean Devaivre, plus CITIZEN KANE.
More than the resolution of criminal intrigue, we feel that it is the narrative experimentation that inspires Asquith: back and forth in time, changes in the costumes, the scenery from the point of view, the narrator, flashbacks introduced and interrupted - sometimes in the middle of a scene - with sound effects, a cut editing bold for its time. Another real quality, the use of the frame - a small seaside town in half deserted, crossed by a train. The hotel which hosts most of the interrogations must be located very near the tracks which we owe to sudden eruptions of smoke, striking effects qu'Asquith uses very cleverly behind the window of the rooms, accented by the noise of the train. The actors playing style also changes depending on your point of view, Jean Kent seems a little grotesque in the first episode and then turns gradually. She is excellent in the episode that follows the perspective of his sister. Dirk Bogarde is very beautiful, but it sometimes feels embarrassed by the fact of playing an American.

Thanks for this moon. Yes, the use of point of view in The Woman in Question makes this film very much a cut above average and a fascinating element so that with each viewing, one sees something new.

I greatly admire Tavernier, but here I disagree with him in his feeling that Bogarde was uncomfortable 'playing an American.' Actually, Dirk enjoyed slipping into an accent and was facile at it. He even did it in his personal life when telling an anecdote to make one of his 'characters' become more vivid.

Nailing an accent for a role was something Dirk took very seriously. To play Hermann Hermann in Despair, he worked with a dialogue coach for weeks before the film on the particular Prussian accent of Hermann, a White Russian in Berlin. During that time, Dirk remained in accent 24/7, probably to the exasperation of everyone within hearing distance. But he did pin it.

All best,

Barbara

[theuofc]

Tavernier's comment about Dirk Bogarde's 'embarrassment' is misplaced. In The Woman in Question his character is just pretending to be an American.

Yes, that's another beauty of Dirk's American accent. It was a double challenge, first in overall sounding American; yet just slightly off since he was really a Brit affecting an American accent. The one, or the obvious time, he 'slipped on purpose' was in his confession to Susan Shaw when he said "I was born in Liverpool. I've never been farther than Bristol in my whole life."

While he interjected American idioms, e.g. 'pretty nearly,' 'not so hot,' and slurred 'you' as 'ya'...if memory serves me, he used the British pronunciation for 'been' with a long 'e' and 'farther' with a long 'a' vs. the Yank short e and short a.

I thought he did an admirable job on both levels. And this was in 1950, only two years into the film game.

Barbara

[Steve Crook]

Tavernier's comment about Dirk Bogarde's 'embarrassment' is misplaced. In The Woman in Question his character is just pretending to be an American.

But it is a Frenchman trying to identify the difference between a real American accent and an Englishman playing an Englishman who is pretending to be an American. It's no wonder if Bertrand got confused

Steve

[batman]

But it is a Frenchman trying to identify the difference between a real American accent and an Englishman playing an Englishman who is pretending to be an American. It's no wonder if Bertrand got confused

Steve

If Bertrand had paid more attention to the script, in which it is clearly stated that Dirk was pretending to be an American, he wouldn't have got confused. However, it may be that the Frenchmen who either dubbed or sub-titled the film didn't want to confuse the entire population of France and simply 're-interpreted' that part of the script. Consequently, Bertrand may never have known about it and is justified in making his comment ..... but if they didn't do that, Bertrand should have paid more attention to the script, in which it is clearly sta................................... zzzzzzzzzzzzzz.

[moonfleet]

If Bertrand had paid more attention to the script, in which it is clearly stated that Dirk was pretending to be an American, he wouldn't have got confused. However, it may be that the Frenchmen who either dubbed or sub-titled the film didn't want to confuse the entire population of France and simply 're-interpreted' that part of the script. Consequently, Bertrand may never have known about it and is justified in making his comment ..... but if they didn't do that, Bertrand should have paid more attention to the script, in which it is clearly sta................................... zzzzzzzzzzzzzz.

Bertrand Tavernier always paid attention to the films he watches, but sometimes some things might have escaped to him, even more if the film is not subtitled, he's a great man of cinema but also he's human. This buzz about a detail point concerning Dirk Bogarde should not hide his whole comment...
He is valorising (is it english ??) a lot of obscure/unknown (at least for a french majority) british films in his blog, I just checked his last one ... an here's another one:

Traduction (français > anglais)
A short overview of British cinema

http://www.tavernier.blog.sacd.fr/pe...inema-anglais/

September 24, 2009 by Bertrand Tavernier - DVD
War
THE-DAM-BUSTERSEn England can find on DVD (of course without subtitles) THE DAM BUSTERS (The Dam Busters): The film was a phenomenal success. What surprises. The opening is uneventful, dull sobriety levels all increase dramatically. No point of view on the characters and feelings. We see a film that is never engaged with his time, whether that action or the shooting. Movies in the past tense. The opposite of history. Only floats the perfect interpretation of Michael Redgrave, who alone gives substance to his character. Richard Todd is in his usual totally dull. It is without doubt one of the least inspiring actors of British cinema.
Special effects and incredibly rude fans for British cinema. Some beautiful shots of planes and in the end, plans to empty rooms to indicate the missing. Amusing detail, "the March of the Dam Busters" which was a tube when the output is always played with the same success, especially in outdoor concerts that include works of the composer.
Preparing a remake of the film and there has been a real problem which is becoming a national cause. The dog character played by Richard Todd was called Nigger, which is historical. The Americans refused, the politically correct helping to keep this name and offered Digger, which was violently rejected. There was a protest campaign ... We just proposed Nigga ... To be continued.
SINK-THE-BISMARCKSur Merigeau Pascal's insistence, I finally decide to see SINK THE BISMARCK despite the director Lewis Gilbert which I always found the work colorless. This film has a good story, quite well written by Emund H North (except the tiresome interventions Edward Murrow who said the events so little credibility for the time and only to educate American audiences). It is also very well played. They are also actors who hold the film, because the staging of Lewis Gilbert is a correct flatness, relieved by a beautiful black and white Scope of Christopher Challis. The special effects, excellent, are by the legendary Howard Lydecker, who directed with his brother Theodore the Special Effects department of Republic Pictures. In this studio, second order, their work was admired by major companies who tried in vain to debauch. Remember the REVIVAL OF THE WITCH with the sinking submarine end of astounding beauty. And think about the Flying Tigers, who made aviation movie date, they did not use a single plane.
Here plans boats models are gorgeous, the views on the Bismarck air with clouds in the foreground, singularly effective. But Lewis Gilbert framing imposes too uniform, too monotonous. Models that are filmed in long shot, but it is not always normal profile and when it fits real boat, it is often too far. This lack of close-ups (seen in THE CRAB DRUM). It's a defect suffers BATTLE OF THE RIO DE LA PLATA Powell but not THE CRUEL SEA by Charles Frend which remains one of the masterpieces of the genre, nor his first draft, the San Demetrio LONDON interesting ... The battles, properly implemented, lack of emotion which is not the case for interior scenes. Alongside Kenneth More, Dana Wynter is a sensitive actress, the cute triangular face, which was stationed in the same roles.
AGAINST-THE-WIND-AGAINST THE WIND by Charles Crichton is best. The treatment of certain characters (the Irishman who collaborates with the Germans through a worker in a munitions factory), the writing of certain sequences in sharp contrast to the sobriety of the first pseudo-documentary scenes: different airdrops, the attack on the train and especially the performance of Jack Warner, Simone Signoret, tense moment very well written and filmed where we find the Crichton Hunted.
ONE-OF-OUR-AIRCRAFT-IS-MISSONI AIRCRAFT IS MISSING OF OUR which opens with a splendid landing missed is a very good movie of Powell, Pressburger wrote with (but do not sign the same box) that tells the odyssey of a crew of a super fortress that was shot down over Holland. Powell and his scriptwriter adopt a bold and clever principle: it is not a German. We hear them, they are guessing. We never see them. Peter Ustinov plays a Dutchman. Please note that this film will inspire DESPERATE JOURNEY (Sabotage in Berlin) Walsh. Powell, one sees at the beginning of the film, even talking about plagiarism.
Idiots attacked ONE OF OUR AIRCRAFT for defeatism "Why one of our planes and not an enemy plane," clamored two idiots who did not understand this song of courage every day.
ANTHONY ASQUITH
Sudden release of several films by Anthony Asquith, director who was famous (John Ford with David Lean cited among the directors he admired) and is well forgotten.
Browning-The-version-Carlotta pulled the wonderful THE BROWNING VERSION (Shadow of a Man, screenplay by Terence Rattigan from his play), a masterpiece of poignant intelligence, eagerness pessimistic. The composition of Michael is one of the most brilliant that is both clear and essential, without resorting to any tricks. Recall that Didier Bezace beautifully adapted the play by Terence Rattigan.
PygmalionAutre output from Carlotta: Pygmalion, co-directed by Leslie Howard and adapted by George Bernard Shaw himself. Seeing the film, we see that the text of Shaw is harder, sharper, more cruel than the highly intelligent musical transposition of Alan Jay Lerner (the very good score of the film is due to Asquith Arthur Honegger) and a near majority of French stagings I've seen. Selfishness misogynist, unconsciousness, and contempt for others shown by Higgins seems much longer enrolled in a national tradition in a culture class. It is often returned to the trait. Leslie Howard, very glossy, plays it just as inventive and syncopated Wendy Hiller (which was rediscovered in I KNOW WHERE I'M), which is more credible cockney flower seller Audrey Hepburn, who appeared at the outset more sophisticated. His arrival in the lounge of Higgins's mother is absolutely irresistible. The transition to the seriousness or melancholy takes place smoothly. As for Mr. Doolittle is one of the best characters created by Shaw.
There are also a silent film in England Asquith, A COTTAGE ON DARTMOOR, which was recently rediscovered film whose first part is staggering virtuosity and daring.

A-COTTAGE ON DARTMOOR-
BRIGHTON-ROCK-On is available now a range of Boulting Brothers films that should reassess the work. I had already reported the very curious and very committed, THUNDER ROCK which combined past and present, anti-fascism and feminism. BRIGHTON ROCK is one of the best transpositions of Graham Greene (screenplay by Terence Rattigan and Greene who hated) with a memorable performance by Richard Attenborough. Greene, who had opposed many of the ideas Boulting made amends to the output including the choice of Attenborough.
7-DAYS-TO-NOONJe want to see 7 DAYS TO NOON, fantastic parable had seemed strong enough.
It is difficult to know which of the brothers was the most creative. John signs but only the ambitious academic, THE MAGIC BOX, a fanciful biography of the inventors of cinema that includes all the British actors of the time (the scene with Laurence Olivier policeman who discovers the first moving pictures is one most successful). Roy, he directs the comical CARLTON BROWNE OF THE FOR, one of the favorite comedies of Mike Leigh. Terry Thomas, a staff totally incompetent, is banished to an island where the dictator is played by Peter Sellers. Sellers is terrific in which I'M ALL RIGHT JACK, charge against the dictatorship of the unions who transformed the image of the Boulting previously associated with Labour. It is hard not to laugh at the sequences which Sellers are a thousand ways to sabotage the work. Roy also wrote the insipid family comedies like THE FAMILY WAY where Hayley Mills unveiled a timid breast scandal at the time.

THE-MAGIC-BOXCARLTON-BROWNE-OF-THE-FAMILY-F.OTHE-WAY-
RUN-FOR-THE-SUN-RUN FOR THE SUN disappointed me greatly. I had good memories of this remake of HUNTS COUNTY Zaroff where former Nazis were pursuing Richard Widmark and Jane Greer. The beginning is nice, the picture of Joseph LaShell joking, but the scenario Boulting and Dudley Nichols runs short. The suspense, too. Trevor Howard, actor, beautiful, not scary and jungle sounds very sterile.
Even more cruel disappointment with WHERE NO VULTURES FLY (Where do vultures fly over) who had impressed me when I was 13. This struggle led by a gamekeeper against traffickers in ivory, its efforts to preserve the elephants moved me and I saw the movie several times. It was an early stance on ecology. There I was flabbergasted by the awkwardness of the staging of Harry Watt, his inability to dramatize beautiful exterior. Discussion scenes are played with incredible stiffness. It must be said that Anthony Steel can give points to Richard Todd.
However I would point out one of the best films of propaganda that I will: MILLIONS LIKE U.S. written, produced and directed by Frank Launder and Sidney Gilliatt.

[batman]

but sometimes some things might have escaped to him

Isn't that exactly the point I made in my second post?

In the first post I simply commented that his remark about Bogarde was IMHO unjustified. I did not say that the rest of his remarks were without merit. I can only assume that it bothers you because it was because it was me who made the remark and not someone else.

I like Tavernier's work, especially La fille de d'Artagnan, 'Round Midnight and Safe Conduct, so he must be doing something right!

[moonfleet]

Tavernier's comment about Dirk Bogarde's 'embarrassment' is misplaced. In The Woman in Question his character is just pretending to be an American.

Isn't that exactly the point I made in my second post?

In the first post I simply commented that his remark about Bogarde was IMHO unjustified. I did not say that the rest of his remarks were without merit. I can only assume that it bothers you because it was because it was me who made the remark and not someone else.

I like Tavernier's work, especially La fille de d'Artagnan, 'Round Midnight and Safe Conduct, so he must be doing something right!

Yes, you're right, I noticed it because it was the first response/post ...but it doesn't really bothered me

Those Tavernier's films you saw are not his best work IMHHO, but one can not watch everything, can he ??

[batman]

but one can not watch everything

But one can have a damn good try!

[will.15]

All I know is when I watch some foreign movies a character is talking for a long time and the subtitle is a few words. They must have said more than that.

[theuofc]

All I know is when I watch some foreign movies a character is talking for a long time and the subtitle is a few words. They must have said more than that.

Maybe some sub-title writers are frustrated scriptwriters at heart.

[Steve Crook]

All I know is when I watch some foreign movies a character is talking for a long time and the subtitle is a few words. They must have said more than that.

English is quite a concise language that has so many different ways of expressing things. Things that often take a long time to be expressed in other languages can often be expressed in a few words in English

Steve

[Steve Crook]

Maybe some sub-title writers are frustrated scriptwriters at heart.

Most sub-title writers aren't paid enough to spend long enough on it to avoid mistakes. Especially with real names - people and places.

My favourite subtitling mistake is in Black Narcissus. When Sister Clodagh (Deborah Kerr) is explaining her history to Mr Dean (David Farrar) she says how she came from a small village in Ireland called Enniskelly. But the subtitler must have heard the 'd' at the end of "called" lingering a bit into the name of the village and it is subtitled as "a small village called Dennis Kelly"

If the subtitler had been paid more and had time to check their work they would realise that that's not just incorrect but a very unlikely name for an Irish village.

Steve

[moonfleet]

February 15, 2010 by Bertrand Tavernier - DVD

ENGLISH CINEMA

http://www.tavernier.blog.sacd.fr/ci...s-et-editions/

(Google automatic tranlation)

Plethora of outlets in England and rare films, often in versions without bonus and still without subtitles.

Start with two successes that should be in tandem Frank Launder and Sidney Gilliat, if inventive writers of The Lady Vanishes, NIGHT TRAIN TO MUNICH in: MILLIONS LIKE U.S. (1943) which they both sign the script and direction (this will be their only co-directed) and Waterloo Road (1945) wrote that Gilliat (with Val Valentine) and runs alone. The two films, shot "hot," have in common a desire to show ordinary people confronted with war, bombing, fear of German invasion, a taste for dramatic structure free, original.
In MILLIONS LIKE U.S., there emerges from time to time without this being linked to one of intrigue, two officers calamitous, Charters and Caldicott played by the sublime Basil Radford and Naunton Wayne (echoing in the characters and the fact names of Hitchcock and NIGHT TRAIN). They exchange in various settings - a train, a beach - the phlegmatic and cynical about, trying to remember the number of mines they have raised, forgo adding: "we will not bathe here after the war." This is an example of what they say:
Charters: "About sacrifices caused by the war, Caldicott, is that you remember that old Patterton? "
Caldicott: "The guy who had all these plantations in Malaysia? "
Charters: "Yes, him. You remember his valet, Hawkins'
Caldicott: "Yes"
Charters: "He was evacuated on Weston Sea"
Calidicott: "Impossible"
Charters: "Patterton is simply livid. He never dressed himself for 30 years
Caldicott: "But what he will do"
Charters: "He follows. At Weston-sur-Mer "
Caldicott: "oh by the way, how many mines have we asked this morning? "


Sidney Gilliat told me that writing these two characters marked and influenced, by his own admission, Harold Pinter. Moreover, these sequences clash in what should be a propaganda film. The British have also been the only ones to put much emphasis on their wrong, their mistakes in the productions of the '40s. Remember COLONEL BLIMP. In WATERLOO ROAD, the bureaucracy of the military seems finicky and repressive.
But what gives it its originality, its power, emotion MILLIONS LIKE U.S. is the prominent role given to female characters that you see trying to survive, to love and commitment. Several sequences in the factory where women work only shake your heart. Patricia Roc, Anne Crawford, too soon, are two of the finest actresses in British cinema.


WATERLOO ROAD opens as often in Launder and Gilliat (see I SEE A DARK STRANGER's first and very funny GREEN FOR DANGER second) by characters who comment on the action, directed at the camera. And at the end of the film, in a coda rather moving, Alastair Sim, actor, beautiful, dazzling in GREEN FOR DANGER, taking us back as a confidant, wanders by dragging the moral of the story, trying to give a sense of hope. Incidentally, Sidney Gilliat Stewart gives one of his rare unsympathetic characters with this Don Juan de pub lawless, war profiteer. The fight sequence between him and John Mills (actor uninspiring but there is more dynamic) is relatively hard and black. Note the dramatic importance of trains and continued at a station, dramatic figure found in many British films of the decade, especially in the splendid SUNDAY still raining.


Remain with Alastair Sim to talk about a work which I think unprecedented in France A CHRISTMAS CAROL by Dickens which caused dozens of adjustments (including a recent show that I) found in Zone 2 under SCROOGE as in zone 1 and a collector's edition at IVC. This film by Brian Desmond Hurst is revered in Anglo-Saxon. Maltin puts him 4 stars and it has 172 enthusiastic comments on this version after the release on DVD. So I was curious to see it and have been only half convinced. While the adaptation of Noel Langley's smart, but the work of Brian Desmond Hurst seemed rather routine as in MALTA STORY (which is out) or SECRET black tents. (I've never seen her Playboy of the Western world). However the interpretation of Alastair Sim is masterful and unforgettable as Ebenezer Scrooge is in his vocabulary (when he hears the voice of Jacob Marley) than in how it appropriates replicas of famous during confrontations, very successful, with the ghosts of Christmas. Although the best known is by Marley: "Mankind Was My Business."


Optimum has released Pool of London (1951) Basil Dearden, Charles Barr in his definitive study considered the archetype of the successful film Ealing. This story of smuggling well played by Bonar Colleano talking too rare at the time in British cinema, race relation, gives a very important and nice to a black actor Earl Cameron. The final chase through the deserted streets of the City is impressive. Nicolas Saada who I counseled him "almost as visually beautiful as PANIC IN THE STREETS Kazan.

[moonfleet]

Traduction (français > anglais)

MORE ABOUT ENGLISH FILMS-23 mars 2011


Livres, classiques français, italiens et anglais…

Many films in Amazon UK. I just saw NEVER LET GO by John Guillermin (Amazon UK 4 pounds) that I liked. It's like Nicolas Saada said a film noir net, dynamic, well-led, non-judgmental moralizing to the exteriors are filmed.
The impasse with the substance of the garage and left the pub is a setting worthy of it always rains in SUNDAY Robert Hamer both synthetic and symbolic. Violence rises gradually so inevitable. Peter Sellers is very impressive crafty bastard, sadistic (he likes to crush the fingers) invaded by an uncontrollable rage and absurd. He can not bear to take what they want it considers to belong: car, girl. His relationship with his girlfriend, Carol White remarkable that we see in Loach's Poor Cow, are increasingly disturbing and strong. That anger will lead him to make decisions increasingly dangerous and illogical.
Equally absurd is the relentlessness that makes Richard Todd wanting to retrieve his stolen car, which led him to neglect his work, cutting himself off from his wife who eventually reject it. Beautiful jazzy music by John Barry with many bursts of percussion and guitar already heard in BEAT GIRL Greville. Guillermin had talent, expertise, an inordinate taste for shots (see GUNS AT Batas, Tarzan's Great Adventure) that was dispersed, wasted in projects that desperate. There he likes to shoot in short focal Arrivals car heading straight and stop as close as possible to a very low camera. The final showdown between Todd and Sellers is particularly violent. Photo of the excellent Christopher Challis.


Also on Amazon UK, I saw the curious MASTER RACE Herbert Biberman (THE SALT OF THE EARTH), which has a real tone until the final sequences, hyper-theatrical. It is almost like a Brecht play. There is a wide shot towards the end with almost all the characters in one scene that is very Berliner together. Among the victors of the war there is of course the U.S. (and sometimes dominate - something rare - clumsy), Russians in the guise of a friendly doctor, friendly, humorous and humane, the English (or rather the fact that English the figure). No mention of the French. George Coulouris is scary as a Nazi who hides under the guise of an honest citizen.


FOOTSTEPS IN THE FOG (NOT IN THE MIST) Arthur Lubin is a pleasant enough film that detonates in a conventional ultra filmography which can also hold IMPACT released on DVD in Wild Side. It is a criminal history (a husband poisoned his wife) rather conventional but nicely decorated and well photographed by the talented Christopher Challis. The beauty of colors, very British tone of the dialogue (among the writers found Lenore Coffee, collaborator of the Arabian specialist female melodramas) and Interpretation lapped (Finlay Currie, Belinda Lee, Bill Travers).
Among other titles released by Optimum, I note The Flying Scotsman, arguably the first British Parliament and the star of Ray Milland, The Gentle Gunman Basil Dearden with Dirk Bogarde and John Mills on Irish terrorism, Moonraker David McDonald Sylvia Sims, DECISION BEFORE DAWN, the remarkable war film by Anatole Litvak I think I have already spoken when it was released in Zone 1. In the meantime I am running on THE WOMAN IN QUESTION Anthony Asquith.

[Cheeky Bob]

Just thought I'd add that one of the reasons Tavernier is so knowledgeable about British film is that he began his career in the industry as a publicist specialising in selling British films to French audiences. Ken Loach was one of his early clients, round about the time of Kes.

[theuofc]

Just thought I'd add that one of the reasons Tavernier is so knowledgeable about British film is that he began his career in the industry as a publicist specialising in selling British films to French audiences. Ken Loach was one of his early clients, round about the time of Kes.

Yes, Tavernier was also Joe Losey's Paris press agent for a while. So Bogarde knew of Tavernier through Losey and long before via Tavernier's wonderful films. Finally meeting when Bogarde was Prez of the Cannes Jury in 1984, Bogarde's jury gave Tavernier the Best Director Prize.

Barbara

[theuofc]

Yes, Tavernier was also Joe Losey's Paris press agent for a while. So Bogarde knew of Tavernier through Losey and long before via Tavernier's wonderful films. Finally meeting when Bogarde was Prez of the Cannes Jury in 1984, Bogarde's jury gave Tavernier the Best Director Prize.

Barbara

Speaking of the 1984 Cannes Festival, here's a lovely clip of Bogarde presenting awards including one to Bertrand Tavernier as Best Director:



Enjoy,

Barbara

[moonfleet]

Enjoyed !! ...that's nice, thank u for posting it Barbara, even Big John is there