The Vanishing Fiancéetavernier wrote:There's an acceptable R2 release of The Green Room under the title The Vanishing Fiancée.
The auto URL button above the post window neither adds nor suggests the double quotes and no other forum requires them, thus my confusion. Maybe the button can be fixed.kaujot wrote:[ URL="http://url"] Text [ /URL ]
Just remove the é and add = before http like so:Ted Todorov wrote:The auto URL button above the post window neither adds nor suggests the double quotes and no other forum requires them, thus my confusion. Maybe the button can be fixed.
Code: Select all
[url=http://www.amazon.com/Vanishing-Fiancee-Chambre-NON-USA-FORMAT/dp/B0013K4H9Q]The Vanishing Fiancée[/url]I actually put the quotes in there by mistake. None are required. It was the accented 'e' that was messing everything up.Ted Todorov wrote:The auto URL button above the post window neither adds nor suggests the double quotes and no other forum requires them, thus my confusion. Maybe the button can be fixed.
And Truffaut needed to be the man who overturned the 'tradition of quality' and be recognized for it by the public. I have a hard time believing Truffaut was significantly more humble than any of those other guys. He was a womanizer for crying out loud. Depardieu wanted to be with Fanny ArdantGringoTex wrote:It's en vogue to pick on Truffaut today for his lack of "modernity," but in 1962 it was Truffaut, even moreso than Godard, being heralded as the modern flag bearer of cinema for 400 Blows, Shoot the Pianist, and Jules et Jim. And then in the middle of the worship, he stopped. Godard needed to be a great artist; Rivette needed to be a great critic; Chabrol needed to be a great Hitchcock; Resnais needed to be a great philosopher. But Truffaut was the lone proletariat in the bunch and he never wanted more than that.
Fast forward to 1970: Truffaut is filming beneath the radar a dark and star-less Doinel drama; Godard is playing footsies with Jane Fonda, Yves Montand, and the Rolling Stones. Godard = middle class
Sorry to bring the conversation in The Last Metro thread back to Day for Night, but having just watched the film for the first time, I think that the bolded claim here actually sums up my main issue with the film -- that I was expecting a more reflective commentary on the nature of filmmaking, as opposed to a film that mainly focuses on depicting the process of filmmaking. This isn't to say that Truffaut's film doesn't offer any deeper introspection; at the heart of the film is the idea that filmmaking is as, if not more, important to those engaging in the process as life itself. Though this feels secondary to Truffaut getting more swept up in demonstrating the craft behind the process and the drama of the crew members. All that's really offered for developing the main theme are some one-off lines here and there, like Truffaut's narration or the questions that Jean-Pierre Léaud's character asks others as his romantic relationship dwindles. ("I'm sure Ferrand is wrong. Life is more important than films.")ByMarkClark.com wrote:and especially when Truffaut's heartfelt love of filmmaking shines through so clearly. Is it sentimental? Romanticized? Sure. That's the point. It's a love-letter to movie-making, not an existential meditation on the idea.