Word: truffauts
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...film makes sure that the audience goes away appreciating basic human feelings, like friendship. As in Truffaut's 400 Blows, we do not condemn the boys for stealing or cheating. Rather, we appreciate their ability to bring energy and fun to the routine of poverty which renders so many people helpless and lifeless...
That work consisted of more than 400 short stories, film scripts of his novel Fahrenheit 451 for Francois Truffaut and of Moby Dick for John Huston, TV adaptations of Bradbury tales, plus poems, articles and plays. By his early 20s, the son of an impoverished electrical lineman had begun to write his way out of the Depression. The familiar Bradbury style was set early: an amalgam of myth, sentiment and evocations of Poe and H.G. Wells. At 26 he was already being asked where he got all his ideas. With that kind of reader interest, he felt secure enough...
...shake things up, it took another wave of immigrants: the influx of sophisticated foreign films in the late '50s and early '60s. Soon every young Hollywood hotshot wanted to make movies just like Fellini's, or Bergman's, or Francois Truffaut's. A picture's subject could be uniquely American, but its style would be self-consciously "artistic" (read European). Two Hollywood hits of 1967 strikingly assimilated these international trends: Bonnie and Clyde, originally offered to Truffaut to direct, and The Graduate, in which Berlin-born Director Mike Nichols ransacked the mannerisms of a dozen art- house auteurs to tell...
Those disenchanted with the run-of-the-mill and seeking films by the likes of Truffaut, Fellini and Cocteau can satiate their Euro-urge at The Brattle Theater (40 Brattle St.). Up until July 11, the cozy movie house will feature its annual Janus Film Festival with movies by popular Eastern and Western European directors. Films from the fifties like James Dean's classic Rebel Without A Cause and and an occasional late night 1960s film will round out the rest of the summer. The Janus Theater (57 JFK in the Galeria) also shows foreign films, though it is currently...
...there were a competition for indelible images, this simple homage to Truffaut would be matched only by the sustained audience applause that greeted the final shot of Woody Allen's The Purple Rose of Cairo, another critical favorite. A young wife, her dream of eloping with a movie idol crushed, finds another dream born while gazing raptly at another wonderful picture. For the few privileged moments when Truffaut and Allen occupied center screen, Cannes declared that the film industry is only on loan to the merchants. It belongs, first and finally, to the magicians...