On connaît la chanson ! (French Edition)

On connaît la chanson

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Though less well publicized and far less prolific , the Left Bank group of whom Resnais was the spearhead anticipated the political upheavals of Paris in and has dominated French cinema culture since the late s. He repeatedly presented human relationships that are characterized by reticence, modesty, immaculate courtesy, and a stimulating respect for others, together with overtones of solitude.

Resnais regularly worked with such distinguished French literary figures as Marguerite Duras and Alain Robbe-Grillet , encouraging them to write the script as a piece of literature rather than as a screenplay.

He then transposed their vision into cinematic terms, in a style richly suffused with his own sensibility. A resident of Paris, Resnais numbered among his close friends many lesser-known actors and technicians he worked with. His films epitomize the unusual blend of circumspection and commitment in his own personality.

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Although he dealt regularly with problems of personal and political action, his radical commitment was often underestimated by critics mesmerized by his immaculate style. His short films had several brushes with government censorship. We welcome suggested improvements to any of our articles. You can make it easier for us to review and, hopefully, publish your contribution by keeping a few points in mind.

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Same Old Song / On Connait la Chanson - Film - European Film Awards

This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. Accessibility links Skip to main content Keyboard shortcuts for audio player. France Mourns Filmmaker Alain Resnais.

Facebook Twitter Flipboard Email. March 3, 5: Heard on Morning Edition.

Actors like Pierre Arditi and Andre Dussolier. He won a lifetime achievement award at Cannes, a Lion d'Or at Venice. They replied that they would but, having not appeared in our two "twin films", they didn't want to write for other actors than themselves. This suited me perfectly.

On Connaît la Chanson!

We then spent three or four afternoons talking about characters, outlines, what we wanted or didn't want to do on film We ferreted through my subject box. I think I even gave the "Jaoui-Bacris" a totally outrageous half-hour improvisation, a little like automatic writing, that I had recorded on audio tape. The theme of the outer appearances that we wear throughout our lives rose to the surface along with other elements, like a guide and her visits and the psychology of the hermit crab.

In some of them, the characters regularly lip-synch to popular songs.

And gradually, the outline of the film came into shape. The challenge was the following: We therefore decided to use French songs rooted in an everyday climate, excluding any notion of fantasy. The songs, with two or three exceptions, don't describe the characters' imaginary world either. And I've often noticed that popular songs accompany the acts of our everyday lives.

César 1998 (édition n°23)

If we behaved at all naturally, we'd use song lyrics in conversation. In your mind and that of the writers, does the choice of song extracts for the action provide a sort of anthology of French song? We didn't aim to have a balanced mix, either on a chronological level or according to the number of songs by a single performer.

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