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La belle de nuit (1934)
Artforum, “something like a minicult has emerged” in France around Louis Valray, who made his directorial debut with
L’homme à la barbiche (1933), the story of two half-brothers competing for an inheritance told in forty-seven minutes. Two features followed,
La belle de nuit (1934) and
Thirteen Days of Love (1935), and more than a decade would pass before he made a final short film,
Voyantes et médiums (1947), took a job in radio, then another as a chemical engineer, and died in obscurity in 1972. In January 2020, the Museum of Modern Art screened Lobster Films’ restorations of the features as part of To Save and Project, its festival of film preservation, and now MoMA is streaming them to its members through next Thursday.
I didn’t think it was possible for an EGOT winner to be an underdog. Mike Nichols had a Grammy when he was 31, a Tony when he was 33, and an Oscar when he was 36. The Emmy didn’t come until he was 70, but to make up for lost time he snatched up two in one year and, shortly thereafter, another two. Contemporary improvisational comedy (i.e., comedy) would not be the same without him, nor would Broadway theater, and he directed at least one film people will still be talking about maybe celebrating, maybe scorning, but certainly talking about in half a century.
Red Line 7000 (1965)
Critic Nick Pinkerton recently fired out the Twitter provocation that âfor decades nearly the entire weight of the industrial American film criticism apparatus has been put into forcing people to pay attention to Sundance indies that no one will remember in a year when it should have been telling them to just chill and watch Red Line 7000.â With this yearâs Sundance titles already starting to appear on these shores, and said Howard Hawks racing-car drama showing up on Talking Pictures TV this weekend, itâs a fine time to trial his theory. Hawksâ late-period movies have long played the role of a stress test for the auteur theory. Can a fishing movie involving a shot of a bear riding a motorbike (1964âs Manâs Favorite Sport?) be an autumnal masterpiece? Indeed it can. Red Line 7000 is the picture he made just after that, a flabbier return to the speedway thrills and off-track camaraderie of his 1932 The Crowd Roars â one tha
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On Thursday, December 10, n+1 contributor David Levine and coauthor Shonni Enelow discussed the ideology of American acting and their new book,
A Discourse on Method, with film critic Nick Pinkerton. A recording of the conversation is below.