Louis Malle (French Film Directors MUP)
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This is the first monograph on controversial French director Louis Malle to be published in English. Hugo Frey introduces Malle's work through a lucid analysis of his many masterpieces, including Le Feu Follet, Lacombe Lucien and Au revoir les enfants. He also traces the director's extended period of work in the USA, which resulted in powerful films such as Pretty Baby, Atlantic City USA and My Dinner with André.
The book focuses on the most challenging aspects of Malle's oeuvre, his aesthetic vision, his youthful attraction to a form of right-wing pessimism, and his 1970s libertarianism. By rethinking Malle's portrayals of Nazi-occupied France, Frey demonstrates that he is of equal importance to contemporary historians as to film studies. This new appraisal is a nuanced study of an important film-maker, and a critical intervention in the debates which surround Malle's work.
highlights the figure of Malle's onetime agent in the United States, Sam Cohn. Like the dubbing of The Godfather, it recalls that behind the illusory realism of his films Malle was fully engaged in the occasionally grubby routine of the commercial film business. Malle was anything but a dilettante. Simply, the very qualities of his classical realism privileged his films over his reputation as an auteur, let alone the more commercially sensitive side of film production. From time to time Malle did
on, especially at the time of the Algerian war, when intellectuals had to take sides' (1993: n). Malle's assessment here is a little disingenuous. Nimier had never concealed his political affiliations or preferences and any reading of his fiction shows that he had 'taken sides' long before the war in Algeria had developed. Notwithstanding Malle's later gloss on die 1950s it is evident from historical analysis of die era that extreme-right-wing intellectuals and fellowtravellers like Nimier,
of women in these films is shaped by a comparable outlook. As Genevi&ve Sellier suggests in her groundbreaking work, women frequently form decorative, objectified elements in Malle's narratives ((with Vincendeau) 1998; 2001). The presentation of Brigitte Bardot in Vieprivte is shaped by a masculinist outlook. Sellier explains that while Malle's film had intended to be a study of the star phenomenon, a quasi-biographical picture that dissected the Bardot .. myth, the end result of Vie privte was
pursue the above approach with any consistency. Instead, Malle establishes a counterdiscourse that is quickly juxtaposed with the former perspective. Now, Malle implies that in Violet and Bellocq's 'marriage' a kind of brief moment of libertarian happiness is achieved. This tone is especially dominant in an important sequence towards the end of the film. Bellocq and Violet have been married and together with their friends from die brothel they drive to the banks of the Mississippi to celebrate.
Patrick 19,28 Roud, Richard 38,39,63 Rousso, Henry 24,29,103,114 Royal Tannenbaums, The 23 Royle, Nicholas 125,141 Rushmore 23 Russel, Ken 18 Sagan, Francoise 72 Sarandon, Susan 19,20,36,108, 109,112 Sartre, Jean-Paul 14,51 Scheers, Rob van 23,29 Schlondorff, Volker 9,118 Schlosser, Maurice 119 Scorcese, Martin 19 Seberg, Jean 4 Sellier, Genevieve 79,89 Semmelweis 75 sexism (in Malle's work) 79-84 Shawn, Wallace 21,36,44,60, in, 114 Shields, Brooke 15,35,98,112 singe en hiver, Un 78 Smoking/No