Thought on Claude Chabrol career ? Favorite Film ?

(For those who don’t know Claude Chabrol is a French Filmaker (1930-2010) part of the New Wave, who shooted a lot of movies)

My personal favorites are his two First Films « Le Beau Serge » (Serge the Beautiful) (1958) and « Les Cousins » (1959) (I watched them in the chronological order, so I’m at « Ophélia » in 1963 for the moment)

Lewis Carroll’s Alice revolts against the volatile world of Wonderland by literally bringing the whole house of cards down. Not only does she go on a dangerous journey, she also returns to tell the tale. If Alice is punished for her revolt, it is in the book’s extraordinary, heartbreaking coda that foretells the inevitable reduction in her physical and intellectual mobility that awaits her adult self.

Two 1977 European films deal with Alice’s revolt – and revolt in Alice – in very different ways: Claude Chabrol’s Alice ou la Dernière Fugue (Alice or the Last Escapade) and Stephen Dwoskin’s The Silent Cry. These films demonstrate alternative responses by men to female subjectivity during the peak of second-generation feminism. Chabrol ultimately punishes Alice for rebelling and reinscribes patriarchal norms upset by its deceptively deviating narrative. Dwoskin’s heroine may not break free, but The Silent Cry remains faithful to her experience and its subjectivity offers new and potentially liberating pathways within and outside of narrative cinema itself.

The French New Wave was not heralded by Godard's endless thumb-nosing in Breathless or Truffaut's pent-up energy in Les Quatre-Cents Coups. Rather, it began here, with a quiet picture about two lost friends coming together in a drab town in Claude Chabrol's feature film debut, Le Beau Serge. Indeed, anyone with the knowledge of Chabrol's later works--vivacious thrillers with Isabella Huppert as the steady lead--will be surprised to see Chabrol's seemingly-meek debut concerning the loss of time, resources, and spontaneity in the world.

Yet the magnetic pull of the nouvelle vague is felt strongly in this film--from the way in which Chabrol plays with the presence of the camera to location-shooting, there is something distinctly freewheeling about Le Beau Serge. Chabrol was the first of his Cahiers counterparts to make a movie. In essence, he was the first to practice what they and their fearless leader Andre Bazin had preached: the focus on cinema as a means of liberation. Similar to what Truffaut would do a year later, Chabrol chose to return to his childhood roots in realizing his first film. Similar to Le Beau Serge's protagonist François Baillou (played by nouvelle vague favorite Jean-Claude Brialy), Chabrol revisited his hometown of Sardent, spending 3 weeks on a modest budget of $85,000 that Chabrol inherited from his parents. Indeed, Chabrol underwent many of the problems that Brialy's character does--most prominently, the sense of Catholic guilt that pervaded his early life and the desire to become a Catholic priest (a view which shaped the young Chabrol's occupational desires). By incorporating himself in the story, Chabrol takes the first step towards realizing what may be the perfect expression of the Cahiers politique: integrating the director into the work so much so that they, in effect, become the auteur by which the film's internal logic navigates.

Chabrol has called this movie a "farewell to Catholicism", not unlike Bresson's similar films of bleak redemption in the face of great avarice. Chabrol's Le Beau Serge marks the first of one of the most intense, prolific careers in French cinema--from potboiler commercial movies (1967's Le Scandale with Anthony Perkins) to intense Hitchcockian thrillers (1970's Le Boucher) to twisted interpretations of classic texts (1977's Alice or the Last Escapade based on the Carroll novel, 1991's Madame Bovary based on the Flaubert novel), Chabrol has done it all. It may be ha

Who else would love to see Claude Chabrol’s late 60s to early 70s period in 4K.

The Unfaithful Wife (1969)

This Man Must Die (1969)

The Butcher (1970)

Just Before Nightfall (1971)

And if only one of these is to surface before my final breath, let it be This Man Must Die. I occasionally find myself daydreaming of re-watching it, only to come out of the stupor realizing it only exists in my memory. And what a fine memory it is.

Bonjour !

Je dois dans le cadre d'un cours de communication regarder un film et en prendre un extrait pour en faire un oral. On nous impose une courte liste de six réalisateurs avec choix libre de film parmi ceux-ci et je n'ai aucune idée de quel film choisir. Peut-être que certains d'entre vous sauront me conseiller.

Voici les réalisateurs imposés :

- Claude Chabrol

- Cédric Klapisch

- Jean-Pierre Jeunet

- Bertrand Tavernier

- Luc Besson

- Jacques Audidard

Merci d’avance à ceux qui prendront le temps de me répondre ! Si au passage en plus de savoir quel réalisateur il vaut mieux regarder vous avez une référence de film de ce réalisateur n’hésitez pas, sinon je me débrouillerai.

~ Ahurac

I recently watched a very obscure Claude Chabrol movie about an investigation into the murder of a child. It was called The Color of Lies AKA Au coeur du mensonge.

Also a friend suggested The Grilling AKA Garde a Vue (1981) and Man on a Swing (1974).

I recall The Pledge (2001) with Jack Nicholson being very good as well.

Any other movies where police investigate the murder of a child, preferably lesser known movies....

FRI OCT 01

(12:15am) From Here to Eternity (1953/1h 58m/Drama/Fred Zinnemann)

(2:30am) Quo Vadis (1951/2h 51m/Epic/Mervyn Leroy)

(5:30am) MGM Parade Show #19 (1955/25m/Documentary)

(6:00am) King Kong (1933/1h 40m/Horror/Merian C. Cooper and Ernest B. Schoedsack)

(8:00am) The Most Dangerous Game (1932/1h 3m/Horror/ Merian C. Cooper and Ernest B. Schoedsack)

(9:15am) The Vampire Bat (1933/1h 3m/Horror/Frank Strayer)

(10:30am) The Testament of Dr. Mabuse (1933/2h 0min/Crime/Fritz Lang)

(12:45pm) White Zombie (1932/1h 13m/Horror/Victor Halperin)

(2:00pm) Dr. Jekyll and Mr. Hyde (1932/1h 30m/Horror/Rouben Mamoulian)

(3:45pm) Mystery of the Wax Museum (1933/1h 12m/Horror/Michael Curtiz)

(5:15pm) Doctor X (1932/1h 16m/Horror/Michael Curtiz)

(6:45pm) Freaks (1932/1h 30m/Horror/Tod Browning)

(8:00pm) The Bad News Bears (1976/1h 42m/Comedy/Michael Ritchie)

(10:00pm) Harold and Maude (1971/1h 30m/Comedy/Hal Ashby)

(11:45pm) Black Sunday (1977/2h 23m/Drama/John Frankenheimer)

SAT OCT 02

(2:15am) Dolemite (1975/1h 28m/Crime/D'urville Martin)

(4:00am) Truck Turner (1974/1h 31m/Action/Jonathan Kaplan)

(5:45am) The Distant Drummer: A Movable Scene (1970/22m/Short/William Templeton)

(6:15am) Haunted Honeymoon (1940/1h 23m/Comedy/Arthur B. Woods)

(8:00am) A Rainy Day (1940/7m/Animation/Hugh Harman)

(8:09am) Aladdin's Lantern (1938/10m/Comedy/Gordon Douglas)

(8:20am) Copenhagen: "City of Towers" (1953/8m/Short/?)

(8:29am) Ladies Must Live (1940/58m/Drama/Noel Smith)

(9:30am) BATMAN: The Doom of the Rising Sun (1943/20m/Serial/Lambert Hillyer)

(10:00am) POPEYE: Pre-Hysterical Man (1948/6m/Animation/Seymour Kneitel)

(10:08am) The Case of the Velvet Claws (1936/1h 3m/Suspense/Mystery/William Clemens)

(11:30am) Dark Magic (1939/10m/Comedy/Roy Rowland)

(11:45am) The Champ (1979/2h 2m/Drama/Franco Zeffirelli)

(2:00pm) Requiem for a Heavyweight (1962/1h 27m/Drama/Ralph Nelson)

(3:45pm) Somebody Up There Likes Me (1956/1h 53m/Drama/Robert Wise)

(6:00pm) The Greatest (1977/1h 41m/Drama/Tom Gries)

(10:00pm) Gulliver's Travels (1939/1h 14m/Adventure/Dave Fleischer)

SUN OCT 03

(12:00am) The Glass Wall (1953/1h 20m/Drama/Maxwell Shane)

(1:45am)

I don't want to step on anybody's toes here, but the amount of non-dad jokes here in this subreddit really annoys me. First of all, dad jokes CAN be NSFW, it clearly says so in the sub rules. Secondly, it doesn't automatically make it a dad joke if it's from a conversation between you and your child. Most importantly, the jokes that your CHILDREN tell YOU are not dad jokes. The point of a dad joke is that it's so cheesy only a dad who's trying to be funny would make such a joke. That's it. They are stupid plays on words, lame puns and so on. There has to be a clever pun or wordplay for it to be considered a dad joke.

Again, to all the fellow dads, I apologise if I'm sounding too harsh. But I just needed to get it off my chest.

Do your worst!

I'm surprised it hasn't decade.

They were cooked in Greece.

Best run in terms of anything

Stanley Kubrick: Lolita, 2001: A Space Odyssey, Spartacus, and Dr. Strangelove.

Robert Wise: The Sound of Music, West Side Story, The Sand Pebbles, The Haunting, Two for the Seesaw, and Star!.

Jean Luc Godard: Breathless, Contempt, My Life to Live, Two or Three Things I Know About Her, Pierrot le Fou, Bande à part, A Woman Is a Woman, Le petit soldat, The Carabineers, A Married Woman, Alphaville, Made in U.S.A, Masculin Féminin, La Chinoise, Weekend, One Plus One, Joy of Learning, A Film Like Any Other, and British Sounds.

David Lean: Lawrence of Arabia and Doctor Zhivago

Francois Truffaut: Stolen Kisses, Antoine and Colette, Shoot the Piano Player, Jules and Jim, The Soft Skin, Fahrenheit 451, The Bride Wore Black, and Mississippi Mermaid.

Alfred Hitchcock: Psycho, The Birds, Topaz, Marnie, and Torn Curtain.

Billy Wilder: The Apartment, Irma la Douce, The Fortune Cookie, One, Two, Three, and Kiss Me, Stupid.

Federico Fellini: 8 1/2, La Dolce Vita, Juliet of the Spirits, Satyricon, Spirits of the Dead, and Boccaccio '70.

Ingmar Bergman: Persona, Shame, Hour of the Wolf, The Passion of Anna, The Rite, All These Women, The Silence, Through a Glass Darkly, Winter Light, The Devil's Eye, and The Virgin Spring.

Mike Nichols: The Graduate, Teach me!, and Who's Afraid of Virginia Woolf?.

Sidney Lumet: The Fugitive Kind, The Appointment, The Hill, The Deadly Affair, Fail Safe, Bye Bye Braverman, The Group, A View from the Bridge, The Pawnbroker, and Long Day's Journey into Night.

Luchino Visconti: Rocco and His Brothers, The Damned, The Leopard, Sandra, and The Stranger.

George Roy Hill: Butch Cassidy and the Sundance Kid, Thoroughly Modern Millie, Hawaii, The World of Henry Orient, Period of Adjustment, and Toys in the Attic .

Roman Polanski: Knife in the Water, Repulsion, Rosemary's Baby, The World's Most Beautiful Swindlers, and Cul-de-sac.

John Huston: The Unforgiven, The Misfits, The Night of the Iguana, The List of Adrian Messenger, The Bible: In the Beginning..., Freud, Reflections in a Golden Eye, A Walk with Love and Death, Casino Royale, and Sinful Davey.

Sergio Leone: The Dollars Trilogy, Once Upon a Time in the West, and The Colossus of Rhodes.

Michelangelo Antonioni: Blowup, L'Avventura, L'Eclisse, La Notte, and Red Desert.

John Ford: How the West Was Won, The Man Who Shot Liberty Valance, Sergeant Rutledge, 7 Women, Cheyenne Autumn, Two Rode Together, and Donovan's Reef.

Akira Kurosawa: Yojimbo, Red B

For context I'm a Refuse Driver (Garbage man) & today I was on food waste. After I'd tipped I was checking the wagon for any defects when I spotted a lone pea balanced on the lifts.

I said "hey look, an escaPEA"

No one near me but it didn't half make me laugh for a good hour or so!

Edit: I can't believe how much this has blown up. Thank you everyone I've had a blast reading through the replies 😂

It really does, I swear!

Because she wanted to see the task manager.

Heard they've been doing some shady business.

but then I remembered it was ground this morning.

Edit: Thank you guys for the awards, they're much nicer than the cardboard sleeve I've been using and reassures me that my jokes aren't stale

Edit 2: I have already been made aware that Men In Black 3 has told a version of this joke before. If the joke is not new to you, please enjoy any of the single origin puns in the comments

So here we are--having finished the White Noise read a few months ago, and having tackled DeLillo’s latest novella, The Silence, just before that, we find ourselves looping right back around to the start of things and tackling Americana, DeLillo’s first novel.

Some admin info

Full schedule for the group read can be found here. If you wanted to get email alerts for group read posts sign up here.

We are still needing volunteers to sign up to lead the weekly reads (as well as a few for standby, ideally). What does this entail? Not much really--we don’t really have particular guidelines or rules for leading a week. Most people follow the short summary / comment / discussion questions format, but it’s not a hard and fast rule. And you don’t need to be an expert on DeLillo, or even read anything by him before (except Americana, up to the chapter you are discussing, of course). It is just a chance to get a few different voices into the mix. So do get in touch or comment below if you are interested.

For those who do post - please remember to include a ‘Next up’ section at the end, with the week, date, and lead. And follow the post title format - Week X | Americana Group Read | Chapters X

What follows below is a bit of scene setting, to provide some context as to where this came from (apologies to those of you more Barthesian in your approach to literature). After which are a few discussion questions to kick things off.

Americana - contexts

We begin in 1958. DeLillo has just graduated from Fordham University “with a degree in ‘something called communication arts’...the year after graduation, he started work as a copywriter for the Ogilvie & Mather ad agency, commencing an ‘advertising career’ that he has described as ‘short’ and ‘uninteresting’” (Keesey 2). He writes in his spare time, and manages to get a few short stories published in magazines (we did a group read of a few of these--see here). DeLillo eventually decides to quit his job in 1964 to concentrate on writing--though he still “frequently hired himself out for nonfiction pieces on such topics as computers and pseudocolonial furniture” (Keesey 3).

In 1966 DeLillo starts work on Americana, which take

They’re on standbi

BamBOO!

A play on words.