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 Children of Paradise new print in Boston

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michel sanvoisin

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Nombre de messages : 85
Localisation : rue des moines, paris
Date d'inscription : 11/11/2006

MessageSujet: Children of Paradise new print in Boston   Ven 22 Déc - 14:21

For all the Bostonians who read this (is there any?), this is a wonderful news :
Citation :
"Children of Paradise," written by Jacques Prévert and directed by Marcel Carné , is at the Museum of Fine Arts through Jan. 7

The Boston Globe has a great article about it here.

A quick copy & paste in case it disappears :

Citation :
Films get to heart of great cinema

By Mark Feeney, Globe Staff | December 22, 2006

It's not surprising that the two wisest remarks ever
to be made on screen occur in French films. The heart has its reasons
reason knows nothing of, and nowhere more so than in France, that land
of Cartesian thought and "La Vie en Rose " sentiment. What is
surprising is that those films should have been released within six
years of each other, effectively bookending World War II."There
is one awful thing in this life," Jean Renoir's bumbling hedonist,
Octave , observes in "Rules of the Game" (1939) , "everyone has his
reasons." Garance, the beautiful stage actress played by Arletty in
"Children of Paradise" (1945), knows that one reason surpasses all
others. "Love is really quite simple," she tells Jean-Louis Barrault's
Baptiste , the mime who adores her. It's everything else that's
complicated.In a splendid bit of screen serendipity, both films
-- two of the most generous and satisfying in the history of cinema --
open tonight for limited local runs. "Children of Paradise," written by
Jacques Prévert and directed by Marcel Carné , is at the Museum of Fine
Arts through Jan. 7, and "Rules of the Game," written and directed by
Renoir, is at the Brattle Theatre through Dec. 31. Better yet, both are
being shown in newly restored prints.Wordsworth described poetry
as "thoughts that lie too deep for tears." "Rules" is comedy that lies
too deep -- that's too searching -- for laughter. The basic premise is
farcical enough for Feydeau : a country weekend among the aristocracy,
with the prospect of multiple cuckoldings both upstairs and down.
Throughout, there is the lightness of comedy: the sense of everything
just-so; a lambent, buoyant wit; a plot of acrobatic dexterity. And at
times "Rules" can be very funny.What ultimately defines the
film, though, what makes it unforgettable, is its tragic gravity.
Renoir was the son of the Impressionist master Pierre-Auguste Renoir .
One can see that birthright in how simply yet superbly he shot parts of
"Rules" en plein air, and the film's unprecedented use of
deep-focus photography testifies to the expertness of the son's eye.
Even so, Renoir was no less the artistic offspring of the great French
tragedians, Corneille and Racine .Instead of emphasizing the
humor of his situation, Renoir offers an elegy, at once fond and
aghast, to a way of life about to disappear in the maelstrom that would
be World War II. (That maelstrom would claim the negative of "Rules,"
destroyed during an Allied bombing in 1942.) Mozart provides much of
the soundtrack, and "Rules" is one of the few works in any medium
worthy of the term "Mozartean." The obvious parallel is with "The
Marriage of Figaro. " (Renoir takes the film's epigraph from
Beaumarchais's play, but the more relevant composition may be the
Requiem.)For all its timelessness, "Rules" has a consciously
contemporary setting. Up-to-the-minute elements include a celebrated
aviator who makes a declaration of unrequited love over the radio.
Neither aviation nor radio figures in "Children of Paradise," although
unrequited love certainly does.Filmed during the Nazi
Occupation, "Children" conjures up a teeming, tumultuous 1830s Paris.
Four men -- the mime, another actor, a thief, a count -- love Garance,
the star of a theatrical troupe. The film lasts (a very short) three
hours and 10 minutes as it follows the intricate pattern they play out
over the years."Rules" is sleek and streamlined, like the
fixtures in the Paris apartments where its characters live when not in
the country. "Children" is sumptuous and full-bodied. Its stately look
mirrors the density of feeling expressed throughout the film. It's like
a fairy tale that has gone through the furnace of experience, emerging
enlarged and toughened into a magnificent one-of-a-kind artifact, part
carnival, part epic. There really is nothing else quite like it.A
wondrous, moving, magically embroidered film, "Children" is impossibly
romantic and thus, alas, romantically impossible. It conveys such a
thick sense of lives lived and emotions felt that it has the heft and
fullness of a classic triple-decker novel. Imagine Balzac's fiction
with a soul (or Dumas's with a mind), yet created for the screen rather
than merely transferred to it. That is, it's impossible to conceive of
this being richer on the page. Then again, it's impossible to conceive
of almost anything richer on the screen. Go see it with someone you
love.

"go see it with someone you love" yes, indeed Embarassed
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