By Wheeler Winston Dixon
Before turning to filmmaking, Francois Truffaut was once a movie critic writing for Cahiers du Cinema throughout the Fifties. The Early movie feedback of Francois Truffaut makes to be had, for the 1st time in English, articles that initially seemed in French journals akin to Cahiers du Cinema and humanities. Truffaut discusses movies via such said masters as Hitchcock, Huston, Dymytryk, and Lang, but additionally examines the paintings of such lesser-known administrators as Robert clever, Don Weis, and Roger Vadim.
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Extra resources for The Early Film Criticism of François Truffaut (Midland Book)
Sample text
So now, this closer relationwhich some still denied themselvescomes to us on its own, annihilating the arbitrary boundaries of the screen and replacing them with the quasi-ideal ones of panoramic vision. Journalists of the popular press made a serious error, and it is not necessary to look elsewhere for the causes of this deception, in focusing publicity for CinemaScope on an effect of "relief" [the so-called 3-D effect], nonexistent in reality, and of little interest. With the coming of the wide screen, cinema is reinventing the basrelief of its own terms; an essential method in sculpture, it gives "depth" priority over "relief"; as we have experienced in recent films with polaroid glasses, it goes after farfetched objectives, which can only offer us a naively monstrous and totally unrealistic vision of the world.
His review ends with the admonishment "if you like cinema, you must refrain from going to see Cinerama," and he recommends that the viewer see, instead, Abel Gance's Magirama (1956), one of Gance's later "Polyvision" (multiple-screen) works. Cinerama Holiday ("Bad Circus and Low Propaganda") Cinerama is ineradicable now, for it is not only a cinema show, but it also attracts tourists; the country cousin coming to Paris goes to the Empire after visiting the Folies-Bergères and Ingrid Bergman in Thé et sympathie [Tea and Sympathy].
The camera men miss no opportunity to track in without cause, the camera being perched on a sleigh, a plane, a scooter, or wooden horses. " When, on the contrary, the camera moves among the crowd, it is unpleasant to meet the pedestrians' eye in the lens, all the more so because we see them abused by assistants, whom we imagine dealing out one dollar bills. The mise-en-scène is pitiable, the editing unskillful, the picture often out of focus. The three screens are no better linked up than before, but the cameramen have been given instructions about this so that houses' angles and trees are casually superimposed on the edges of the central screen.