A fan of silent serials and a precursor to the French Nouvelle Vague, Georges Franju was inspired by the early thrillers of Louis Feuillade when he made the haunting, at times shocking, story of a disfigured woman, a driven scientist, … Continue reading Eyes Without a Face
I have a new one up on The Cultural Gutter! Yesterday’s Tomorrow: A Visit to Tativille is a look at one of my all-time favorite films, 1958’s futurist farce Mon Oncle by Jacques Tati. Tati’s third film, and the second to feature … Continue reading Cultural Gutter: A Visit to Tativille
Vampyr is a silent film with sound, a surreal parade of images that found itself caught uncomfortably in between the end of the silent era and the dawn of talkies. A critical and commercial failure in its day, it is … Continue reading Vampyr
It’s time for a Jean-luc Godard review, but where as I struggled with exactly what I should say in regards to Breathless, partially because it seems one of the most written-about films this side of Zombie Lake (which seems to … Continue reading Band of Outsiders
Austrian writer and director Rudolf Zehetgruber had two shots at the Kommissar X franchise, and Death is Nimble, Death is Quick, the second entry in the seven film Eurospy series, was the first of them. It’s a commendable, if not … Continue reading Death is Nimble, Death is Quick
If I rack my brain, I can come up with an English language corollary by which to describe Fantomas. But that doesn’t change my perception that there is something irreducibly French about the character. Certainly, Sax Rohmer’s Fu Manchu is … Continue reading Fantomas
France Gall might not have had the sophisticated mystique of Francoise Hardy, the it girl “oomph” of Sylvie Vartan, or the continental sensuality of Bardot, but she was nonetheless an integral part of the Yeh Yeh Girl pantheon. It could even be said that her young age — 15 at the time of signing her first recording contract — made her the most accurate reflection of that uniquely French musical movement’s teeny bopper audience. As such, she presented a guileless naiveté that perhaps made her an ideal blank slate upon which some of France’s best professional songwriters could project their pop fantasies — the most well known of those being Gall “family friend” Serge Gainsbourg. Because, really, who better to entrust your teenage daughter’s fortunes to than Serge Gainsbourg?