How Has British Film Developed The Anti Hero From The New Wave Movement Of The 60s. - Page 2 - Britmovie - British Film Forum

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Old 13-02-2006, 07:01 PM
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Hi, WTS,

Thanks. I aim to intrigue

Seriously, I would very much like to hear your comments or anyone else's on this. It has always seemed to me that the Brit kitchen sink version of The New Wave understandably concerned itself with class conflict while the French New Wave focused on the existential anti-hero alienated from society as a whole. Perhaps the work of Tony Richardson and cinematographer Walter Lassally in "The Loneliness of the Long Distance Runner" approaches the alientation prevalent in the French New Wave. Yet, it's a far cry from "Le Samourai."

Anyone?

All the best,

Barbara

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Old 13-02-2006, 07:06 PM
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(Fellwanderer @ Feb 13 2006, 06:40 PM)
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Old 13-02-2006, 07:53 PM
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(Ambrosia @ Feb 13 2006, 07:06 PM)
FFG - Ok I'm in for a penny whats the Joke?
See this forum has a history and I fear a sharp learning curve as well.
Whisper it quietly for fear of them overhearing - the film forum girls.

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Old 13-02-2006, 10:29 PM
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(Steve Crook @ Feb 12 2006, 08:34 PM)
It sounds like you're asking us to write you film studies essay for you.
Students often ask, but rarely get anyone to fall for it.
Why don't you say what you think or pose some more specific questions and see if anyone wants to comment on your thoughts?

Steve
If the New Wave movement was characterised by the Angry Young Man set against the back drop of Northern working class Britian then, I feel British popular novels and cinama has developed the hero/anti hero role by elevating the working class character into a position of authority and power whilst mediating his actions.
The novel and film of the same name 'When Eight Bells Toll' illustrates this in the character of Philip Calvert, his character is an unapologetic mercenary with little patience for authority, yet he allows the character a number of human touches that make him endearing. His interaction with his stuffy boss, played marvelously by the late Robert Morley, recalls Bond and M in the 007 series, yet there's a depth to their relationship that the Bond pictures never really hit upon. True, Morley is playing yet another variation on his upper class British twit routine, yet he actually enters into the action in an unexpected and interesting way. Similarly, Hopkins evolves from treating him with complete disdain and contempt to embracing him as a valued comrade and collaborator. who is discribed by his boss Uncle Arthur as a climbing the ladder of life type.

The uncompromising and down to earth character of Calvert is reminiscent of the New Wave characters and I feel is a direct development.


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Old 13-02-2006, 10:50 PM
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From the little research I have done on this I agree, though the kitchen sink depictions of society of the day I feel reflect the gritty reality of the characters portrayed, where as as you said Jean-Pierre Melville's existentialist anti-hero Jef Costello in 'Le Samourai appears to be surreal.
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Old 13-02-2006, 10:51 PM
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Old 13-02-2006, 11:03 PM
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Like I said earlier...
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Old 14-02-2006, 06:01 AM
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Let's hear it for the Film Forum Girls! Let's hear it for the Film Forum Girls!
Thank you, Fell, so glad you brought it up.

Barbara
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Old 14-02-2006, 06:05 AM
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(Ambrosia @ Feb 13 2006, 10:50 PM)
From the little research I have done on this I agree, though the kitchen sink depictions of society of the day I feel reflect the gritty reality of the characters portrayed, where as as you said Jean-Pierre Melville's existentialist anti-hero Jef Costello in 'Le Samourai appears to be surreal.
Thanks for the responses and for being a good sport, Charles. Welcome to the Forum and its wild and wonderful ways.

Best,

Barbara
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Old 14-02-2006, 12:13 PM
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Old 14-02-2006, 12:18 PM
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=The mass of the waffle is inverse to the square writing it.
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Old 14-02-2006, 12:20 PM
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(theuofc @ Feb 14 2006, 06:05 AM)
Thanks for the responses and for being a good sport, Charles. Welcome to the Forum and its wild and wonderful ways.

Best,

Barbara
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Old 14-02-2006, 12:40 PM
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(theuofc @ Feb 13 2006, 07:01 PM)

Seriously, I would very much like to hear your comments or anyone else's on this. It has always seemed to me that the Brit kitchen sink version of The New Wave understandably concerned itself with class conflict while the French New Wave focused on the existential anti-hero alienated from society as a whole. Perhaps the work of Tony Richardson and cinematographer Walter Lassally in "The Loneliness of the Long Distance Runner" approaches the alientation prevalent in the French New Wave. Yet, it's a far cry from "Le Samourai."

Anyone?

All the best,

Barbara
Bob Le Flambeur was also about an aliented anti-hero by the same director 12 years earlier(one of the most influental films for the new Nouvelle Vague directors). Also there are different forms of alienation, I'm thinking of British New Wave films like Billy Liar, The L-Shaped Room, A Taste of Honey, Cathy Come Home, Darling etc. All these deal with alienation of one sort or another.
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Old 14-02-2006, 06:03 PM
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Some of us are still working on evolving as far up the food chain as to be able to claim simple status

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Old 14-02-2006, 06:13 PM
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Do you mean simply the best?

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All the best
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