LA GRANDE ILLUSION -- Background

Total Page:16

File Type:pdf, Size:1020Kb

LA GRANDE ILLUSION -- Background LA GRANDE ILLUSION -- background The film was directed by Jean Renoir (1894-1979) second son of Pierre August Renoir, the famous painter. Jean Renoir grew up in Paris and Cagnes-sur-mer, a lovely small town near Nice on the Côte d’Azur. He attended boarding schools in France and university in Aix-en- Provence. Renoir did his military service beginning in 1913 in the cavalry, but during the war served in the Alpine infantry where he was twice wounded and then in the French air force as a reconnaissance pilot. After the war, though interested in many of the arts, Renoir turned to film. During a lifetime career beginning in the silent and ending in Hollywood, Renoir made 47 films. Several of these are classics: The Grand Illusion, The Rules of the Game, The Beast. The River. He wrote several novels and many essays of film criticism. He received many awards in France, Europe, and the U.S. The Grand Illusion was made in 1936-7 and released in 1937, just after the fall of the Popular Front government in France. It was banned almost immediately in Germany and later in Italy. In France it was tremendous hit, viewed by perhaps 12 million patrons. However, in 1940 the French Army had it banned “for the duration” because of what they regarded as its anti-war message. The film stars six outstanding actors of the time: Pierre Fresnay as de Boldieu, was an outstanding classical and stage actor. Jean Gabin as Marechal, was perhaps the greatest of the French male film actors of the 20th century, leagues better for range, characterization, and sheer magnetism than some later pretenders. (e.g. name beginning with D) Erich von Stroheim as von Rauffenstein. Incomparable. Like Orson Welles, he transformed and elevated every film he directed or acted in. Julien Carrette as Cartier. Carrette was a famous vaudevillian. Marcel Dalio as Rosenthal. Dalio was a journeyman actor in many, many films. Did you notice him in Casablanca? Dita Parlo as Elsa. “The Grand Illusion” was probably the high point of her difficult career In film. R. Bunselmeyer. April 2018. .
Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • H-France Review Vol. 19 (February 2019), No
    H-France Review Volume 19 (2019) Page 1 H-France Review Vol. 19 (February 2019), No. 25 Prakash Younger, Boats on the Marne: Jean Renoir’s Critique of Modernity. Bloomington: Indiana University Press, 2017. xxv + 326 pp. $90.00 U.S. (cl). ISBN 978-0-253-02901-0; $38.00 U.S. (pb). ISBN 978-0-253- 02926-3. Review by Colin Davis, Royal Holloway, University of London. The back cover of Boats on the Marne describes the book as offering “an original interpretation of Jean Renoir’s celebrated films of the 1930s.” This is a bold promise given how intensely the films Renoir directed in the decade before the Second World War have been studied in both French- and English- language scholarship. The preface begins with a personal anecdote about the author’s first experience of the enigmatic power of La règle du jeu and his subsequent attempts to understand it. “Most of the critical consensus was in place,” he tells us, “[but] nobody seemed willing to take the final step and say…what the film was ultimately about” (p. xiv). Indeed, existing scholarship is accused of “unconscious evasiveness” (p. xvii). However, the introduction gives a more modest statement of the aims of the book: “This book does not purport to offer a better or more comprehensive account of Renoir’s films, French culture or politics in the 1930s, the philosophical legacies of Plato or Rousseau, or any of the other subjects it examines along the way, though it should, I hope, offer a different and liberating way of looking at all of these things….” (p.
    [Show full text]
  • La Regle Du Jeu: the Rules of the Game Pdf, Epub, Ebook
    LA REGLE DU JEU: THE RULES OF THE GAME PDF, EPUB, EBOOK V. F. Perkins | 96 pages | 04 Sep 2012 | British Film Institute | 9780851709659 | English | London, United Kingdom La Regle du Jeu: The Rules of the Game PDF Book All of which helps explain why, for such a great film, it isn't discussed as often as other great films. Things are definitely not going to end well…. This book analyses the supposed erosion of the authority of EU law from various perspectives: legislation, jurisprudence of national supreme and constituti Close Menu Search Criterion. Francis Willughby's Book of Games, published here for the first time, is a remarkable work and an invaluable resource for anyone with an interest in early Dalio, Carette, Toutain and Renoir are excellent. The Impact of Justice on the Roman Empire discusses ways in which notions, practice and the ideology of justice impacted on the Roman Empire through three The context: Jean Renoir , writer and director of Rules of the Game , was destined for fame. The backdrop in two examples: a mildly offensive black figurine widely collected in the s or Asian historical faces or artifacts, which two characters essentially pose with. We're about to get all French up in here. The photograph at the top is by Richard Avedon. Here are ten of his favorites. Meanwhile, the hired help have their own game of musical beds going on: a poacher is hired to work as a servant at the estate and immediately makes plans to seduce the gamekeeper's wife, while the gamekeeper recognizes him only as the man who's been trying to steal his rabbits.
    [Show full text]
  • Final Weeks of Popular Jean Renoir Retrospective at the Museum of Modern Art
    The Museum of Modern Art For Immediate Release November 1994 FINAL WEEKS OF POPULAR JEAN RENOIR RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Museum of Modern Art's popular retrospective of the complete extant work of director Jean Renoir (1894-1979), one of cinema's great masters, continues through November 27, 1994. Presented in commemoration of the centenary of the director's birth, the exhibition comprises thirty-seven works, including thirty-three films by Renoir and a 1993 BBC documentary about the filmmaker by David Thompson. Twenty-three of the works by Renoir have been drawn from the Museum's film archives. Many of the remaining titles are also from the Cinematheque frangaise, Paris, and Interama, New York. The son of the Impressionist painter Pierre-Auguste Renoir, Jean Renoir produced a rich and complex oeuvre that mined the spectacle of life, in all its fascinating inconstancy. In 1967 he said, "I'm trying to discover human beings, and sometimes I do." Although critics and scholars disagree on how to categorize Renoir's films -- some believe that his work can be divided into periods, while others argue that his films should be viewed as an indivisible whole -- there is no dissent about their integrity. His works are unfailingly humane, psychologically acute, and bursting with visual and aural moments that propel the narratives. - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Highlights of the second half of the program include a new 35mm print of La Bete humaine (The Beast in Man, 1938), a powerful adaptation of a novel by Emile Zola, previously available in the United States only in 16mm.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 09/30/2021 06:14:40PM Via Free Access 82 Public History, Popular Memory
    4 Raiding the archive: film festivals and the revival of Classic Hollywood Julian Stringer History becomes heritage in various ways. Artifacts become appropriated by particular historical agendas, by particular ideologies of preservation, by specific versions of public history, and by particular values about exhibition, design, and display. (Arjun Appadurai and Carol A. Breckenridge)1 Film Studies has to date paid too little attention to the role cultural institutions play in the transformation of cinema history into heritage. At the dawn of cinema’s second century, a range of organisational bodies – including museums and art galleries, the publicity and promotion industries, film journalism and publishing, as well as the academy – work to activate and commodify memory narratives concerning the movies’ own glorious and fondly recalled past. Such bodies serve different kinds of agendas, broadly identifiable as the commercial, the cultural and the educational (or a combination thereof). However, all help determine the specific shape of current thinking regarding cinema’s past, present and future. At a time when more films than ever before are being exhibited on a greater number of different kinds of screens than ever before, the cumulative effect of all this institutional activity is to create consen- sus around which films should be remembered and which forgotten. With so many ‘old’ and contemporary titles jockeying for position at the multiplex and the art cinema, on television and cable, video, DVD and the Internet, as well as in the classroom, the relatively small number of titles eventually sold, projected, written about, taught or revived, will be largely confined to those legitimised for one reason or another by these different kinds of organisational bodies.
    [Show full text]
  • The Swedish Film and Post-War American Films 1938
    THE MUSEUM OF MODERN ART 14 WEST 49TH STREET, NEW YORK TEUEPHONE: CIRCLE 7-7470 FOR IMMEDIATE RELEASE Legends to the contrary notwithstanding, the negative of Erich von Stroheim's much-discussed film, Greed, has been preserved in Metro-Goldwyn-Mayer's vaults and it has therefore been possible to include this celebrated "masterpiece of realism" in the Museum of Modern Art Film Libraryfs current Series IV, The Swedish Film and Post-War American Films, Greed will be shown to Museum members on Wednesday, February 23rd, at 8:45 P.M. in the auditorium of the American Museum of Natural History, 77th Street and Central Park West. Thereafter it will be available to students of the film in i colleges and museums throughout the country. Greed, a faithful transcription into pictorial terms of Frank Norris1 novel, "McTeague," was created under unusual circumstances and met with a curious fate. It was not made in a studio, but on location in San Francisco. Whole blocks and houses were purchased as settings , walls knocked out to make the photography of real in­ teriors practicable. Every detail of the novel was reproduced at considerable expense of time and money, with a passionate and un­ compromising care for veracity. Eventually von Stroheim offered his producers his finished work, a final cut print twenty reels long which he proposed they should issue in two parts, and which bore no perceptible trace of those elements usually reckoned as "box office. The film was taken from him, cut down to the present ten reel ver­ sion and so released.
    [Show full text]
  • Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
    Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated.
    [Show full text]
  • Réponses Du Questionnaire Cinéma
    Réponses du questionnaire Cinéma 1 Dans quel film de Jacques Tati ne figure pas M. Hulot ? Jour de fête (1948) 2 "Chabadabada, chabadabada...". Qui sont l'homme et la femme du film de Lelouch, en 1966 ? Jean-Louis Trintignant et Anouk Aimée 3 Depuis la création des Césars, un seul film a réussi "le grand chelem" : meilleur film, meilleur acteur, meilleure actrice, meilleur réalisateur. C'était... Le dernier métro (1981) 4 Dans lequel de ces films (je crois que ça parle de flic...) ne figure pas Alain Delon ? Les flics 5 Dans "la guerre des boutons" d'Yves Robert, quelle réplique devenue célèbre est prononcée par Petit Gibus ? Si j'aurais su, j'aurai pas venu 6 Dans ""Marius" une célèbre partie de cartes oppose César, Escartefigue, Panisse et M. Brun. Mais au fait, à quoi jouent-ils ? A la manille 7 Dans "les visiteurs", quel est le cri de guerre de la famille de Montmirail ? Montjoie-Saint Denis, que trépasse si je faiblis 8 Comment s'appelle Louis de Funès dans "le corniaud" Monsieur Saroyan 9 Et quel est le nom du diamant caché dans le klaxon de la voiture ? Le Youcouncoun 10 Quelles sont les profession de Bourvil et de Louis de Funès dans "la grande vadrouille" ? Peintre et chef d'orchestre 11 Occasionnellement, quelle est la particularité de la bourgeoise interprétée par Catherine Deneuve dans "belle de jour" de Luis Buñuel (1967) Elle se prostitue 12 Où habite l'assassin ? Au 21 13 En quelle année fut tourné "l'arroseur arrosé", de Louis Lumière ? 1895 14 Qui est "la dentellière", dans le film du même nom ? Isabelle Huppert 15 Que
    [Show full text]
  • Flyer N° 20-2 Du 16-01-16
    Horaire/Chaîne Film Public « Le Pont de la Rivière Kwaï » Dimanche 17 janvier de David Lean (1957, USA - Angleterre, Guerre, 2h41) 4/3 Arte à 20h45 avec Alec Guinness, William Holden, Jack « Erin Brockovitch, Seule contre Tous » de Steven Soderbergh (2000, USA, Comédie 4/3 HD1 à 20h50 dramatique, 1h43) avec Julia Roberts, Albert Finney, Aaron Eckhart... Lundi « La Trilogie Marseillaise » de Marcel Pagnol 18 janvier « Marius », suivi de « Fanny » à 23h00 et 6/5/4/3 « César » mercredi 20 à 20h55 de Alexander Korda & Marcel Pagnol (1931, Arte à 20h55 France, Drames) avec Raimu, Pierre Fresnay, Fernand Charpin ... « Contagion » TMC de Steven Soderbergh (2011, USA, Thriller, 1h46) à 20h55 avec Marion Cotillard, Matt Damon, Laurence 4/3 Fishburne Mardi « Usual Suspects » 19 janvier de Bryan Singer (1995, USA, Policier, 1h46) avec Chazz Palminteri, Gabriel Byrne, Kevin Spacey ... 4/3 France 4 à 20h50 « Snatch » de Guy Ritchie (2000, Angleterre, Policier - 4/3 Numéro 23 Comédie , 1h43) à 20h50 Jeudi 21 janvier « Lord of War » de Andrew Niccol (2005, USA, Drame - 4/3 Thriller , 2h02) W9 avec Nicolas Cage, Ethan Hawke, Jared Leto … à 20h55 Horaire/Chaîne Film Public « Le Pont de la Rivière Kwaï » Dimanche 17 janvier de David Lean (1957, USA - Angleterre, Guerre, 2h41) 4/3 Arte à 20h45 avec Alec Guinness, William Holden, Jack « Erin Brockovitch, Seule contre Tous » de Steven Soderbergh (2000, USA, Comédie 4/3 HD1 à 20h50 dramatique, 1h43) avec Julia Roberts, Albert Finney, Aaron Eckhart... Lundi « La Trilogie Marseillaise » de Marcel Pagnol 18 janvier « Marius », suivi de « Fanny » à 23h00 et 6/5/4/3 « César » mercredi 20 à 20h55 de Alexander Korda & Marcel Pagnol (1931, Arte à 20h55 France, Drames) avec Raimu, Pierre Fresnay, Fernand Charpin ..
    [Show full text]
  • Erich Von Stroheim, the Child of His Own Loins Fanny Lignon
    Erich von Stroheim, the child of his own loins Fanny Lignon To cite this version: Fanny Lignon. Erich von Stroheim, the child of his own loins. 2017. hal-01638172 HAL Id: hal-01638172 https://hal.archives-ouvertes.fr/hal-01638172 Submitted on 19 Nov 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. http://www.thalim.cnrs.fr/ http://www.univ-lyon1.fr/ Fanny Lignon Maître de conférences Etudes cinématographiques et audiovisuelles Université Lyon 1 Laboratoire THALIM / Equipe ARIAS (CNRS / Paris 3 / ENS) E-mail : [email protected] LIGNON Fanny, « Erich von Stroheim, the child of his own loins », OUPblog, Oxford University Press, 22 septembre 2017. [En ligne : https://blog.oup.com/2017/09/erich-von-stroheim-child-loins/] ERICH VON STROHEIM, THE CHILD OF HIS OWN LOINS Fanny Lignon (Translated by Civan Gürel) Even though Erich von Stroheim passed away 60 years ago, it is clear that his persona is still very much alive. His silhouette and his name are enough to evoke an emblematic figure that is at once Teutonic, aristocratic and military. No one has forgotten his timeless characters—among others, Max von Mayerling in Sunset Boulevard, a talented film director who has become the devoted servant of the almost-forgotten silent film star whose movies he used to make, or von Rauffenstein, the prisoner of war camp commandant of La Grande Illusion with his neck stiff in a brace, perfectly symbolizing at once a world that is gradually passing away and a world that is being born.
    [Show full text]
  • Lecture: Tuesday / Thursday 11:00 A.M.–12:15 P.M., Castellaw 101 Screening: Wednesday 6:00–10:00 P.M., Castellaw 101
    Baylor University ● Dept. of Communication Studies, Film & Digital Media Division ● Spring 2011 Lecture: Tuesday / Thursday 11:00 a.m.–12:15 p.m., Castellaw 101 Screening: Wednesday 6:00–10:00 p.m., Castellaw 101 Professor: Dr. James Kendrick Office: Castellaw 119 Office Hours: Monday, Wednesday 12:00–2:00 p.m. All other times by appointment Phone: 710-6061 E-Mail: [email protected] Web Site: http://homepages.baylor.edu/james_kendrick COURSE DESCRIPTION This course offers an institutional, aesthetic, and cultural history of motion pictures across the world, starting with the invention of moving picture technologies in the late 19th century and concluding with the ever-rising dominance of the Hollywood blockbuster and the development of digital cinema in the 21st century. In studying the history of motion pictures, we will take into account not only the major figures who influenced their development both technologically and aesthetically, but also the cultural influences, politics, and economic factors that helped shape them. We will consider the development of motion pictures as a narrative form, cultural commodity, political object, art form, and avenue of escapist entertainment. One of the keys emphases in the class will be the historical intersections of various sites of cultural production (movies, television, advertising, censorship, political propaganda, etc.) and how they influence and shape each other. Because the breadth of international film history far exceeds what can be covered in a single semester, this course will focus most heavily on the history of film in the United States, although we also look at various historical moments in the Soviet Union, Japan, France, Germany, Italy, and Poland.
    [Show full text]
  • The Mind-Game Film Thomas Elsaesser
    9781405168625_4_001.qxd 8/10/08 11:58 AM Page 13 1 The Mind-Game Film Thomas Elsaesser Playing Games In December 2006, Lars von Trier’s The Boss of It All was released. The film is a comedy about the head of an IT company hiring a failed actor to play the “boss of it all,” in order to cover up a sell-out. Von Trier announced that there were a number of (“five to seven”) out-of-place objects scattered throughout, called Lookeys: “For the casual observer, [they are] just a glitch or a mistake. For the initiated, [they are] a riddle to be solved. All Lookeys can be decoded by a system that is unique. [. .] It’s a basic mind game, played with movies” (in Brown 2006). Von Trier went on to offer a prize to the first spectator to spot all the Lookeys and uncover the rules by which they were generated. “Mind-game, played with movies” fits quite well a group of films I found myself increasingly intrigued by, not only because of their often weird details and the fact that they are brain-teasers as well as fun to watch, but also because they seemed to cross the usual boundaries of mainstream Hollywood, independent, auteur film and international art cinema. I also realized I was not alone: while the films I have in mind generally attract minority audiences, their appeal manifests itself as a “cult” following. Spectators can get passionately involved in the worlds that the films cre- ate – they study the characters’ inner lives and back-stories and become experts in the minutiae of a scene, or adept at explaining the improbabil- ity of an event.
    [Show full text]