Hotel du Nord contains some of my favorite hardboiled dialogue...
Je veux une change d'atmosphere. Et toi, tu es mon atmosphere.
Atmosphere! Atmosphere! Est-ce que j'ai la guele d'un atmosphere?
My translation (but it's better in French):
I need a change of scenery. And you, you're my scenery!
Scenery? Do I look like goddamn scenery to you??
P.S. Sorry if it's a little off topic.
________________________________________ From: firstname.lastname@example.org [email@example.com] On Behalf Of jean-pierre jacquet [firstname.lastname@example.org] Sent: Wednesday, July 15, 2009 10:54 AM To: email@example.com Subject: Re: RARA-AVIS: Re:Motel noir...
Le Jour se Lève is also my favorite. Interestingly enough to me is the
fact that these movies underlined the individual, as opposed to the
collective, in direct contrast to the socialistic/fascistic political
culture of those pre-WWII days. Akin perhaps to movies in the US
during the Great Depression, which also glorified the individual
amidst the social/socialistic undertakings of the New Deal era.
Existensialism before its official birth date.
On Jul 15, 2009, at 10:42 AM, jacquesdebierue wrote:
> --- In firstname.lastname@example.org<mailto:rara-avis-l%40yahoogroups.com>, jean-pierre jacquet
> <jacquet@...> wrote:
> > A digression from motels noirs, but in line with noir transient
> > dwellers: "Hotel du Nord", the Marcel Carné 1938 classic movie,
> > complete with doomed lovers, cynical pimps and whores.
> > jpj
> Great movie. Carné did have a poetic noir sensibility. Le jour se
> lève is probably my favorite example. I notice, with astonishment,
> that many of the greatest French directors from that era are today
> virtually unknown in the US -- Carné included. This is ironic, in
> the age of Netflix. Polish cinema is in a similar situation, despite
> being more available than ever if you look in the right places.
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