By André Bazin
An awesome number of essays from the daddy of movie criticism.
Perhaps the only most vital voice of cinema within the 20th century, André Bazin profoundly motivated the improvement of the scholarship that we all know now as movie feedback. Bazin has acutely analyzed the cinematic values of our time, extending to his overseas audiences “the effect of artwork for the knowledge and discrimination of his readers.”
The intensity and common sense of his observation has increased movie feedback to new heights. The attractiveness of André Bazin maintains to develop as his writings are released and studied by way of filmmakers and filmgoers alike. also known as the Edmund Wilson of movie, Bazin was once greater than a critic. “He made me see definite facets of my paintings that i used to be unaware of,” acknowledged Luis Buñuel. “He used to be our conscience,” wrote Jean Renoir. “He used to be a truth seeker in action,” echoed François Truffaut.
In The Cinema of Cruelty, François Truffaut, one in all France’s so much celebrated and flexible filmmakers, has amassed Bazin’s writings on six movie “greats”: Erich von Stroheim, Carl Dreyer, Preston Sturges, Luis Buñuel, Alfred Hitchcock, and Akira Kurosawa. the result's an incredible selection of movie feedback.
Read or Download The Cinema of Cruelty: From Buñuel to Hitchcock PDF
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Additional info for The Cinema of Cruelty: From Buñuel to Hitchcock
Example text
When Farrell retrieves Gilda from the arms of Evans, Gilda protests and says, “Didn’t you hear about me, Gabe? ’” To protect Ballin from Gilda’s “infidelities,” Farrell lies to Mundsen, saying she went to the movies. ” By taking Farrell into his confidence, Mundsen cements their relationship. Mundsen is “mad about her,” and so Farrell should not come between them. Gilda returns home with Gabe, wearing a stunning Jean Louis evening jacket loaded with glitter. Farrell knocks the slightly drunken Gabe down for flirting with another man’s wife and the latter retreats.
The second still shows Macready on the left, spinning the dial of a safe that was hidden behind a painting, seen raised above the safe as Glenn Ford watches smugly and carefully. We are in the home of Ballin Mundsen, and Johnny Farrell is being told that if anything happens to the former, he is to open the safe in which the papers from the “tungsten cartel” are to be found. The cartel is another “McGuffin” like the famous “letters of transit” in the famous Michael Curtiz thriller Casablanca (1942).
As the plan falls into place, Doll prepares to leave Dix’s apartment. Dix calls her back — but only to get her new address. She mistakenly thought he would ask her to stay on. The scene shifts from the well-lighted rooms of Dix’s apartment to the dark basement of Cobby’s gambling joint, with a single bulb casting 45 HOUSES OF NOIR the light overhead as Doc unfolds the plans on a huge table under the light. They discuss entering the Belletiers store through a manhole where Louis can easily saw through a brick wall, cut the alarm wires, open the back door for Doc and Dix, then proceed into the store and blow open two safes to obtain a cache of jewelry worth about $200,000.