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1:54
Amis depuis 1949, les réalisateurs Jean-Luc Godard et François Truffaut, deux des chefs de file de la Nouvelle Vague, ont vu leur complicité tourner à l'affrontement et à la haine aux lendemains des événements de mai 1968, surtout en raison de divergences artistiques et politiques. L'acteur Jean-Pierre Léaud, découvert par Truffaut qui en a fait son alter ego dans la série des "Antoine Doinel", a également beaucoup travaillé avec Godard dans les années 1960. Pris entre deux feux, il a subi les contrecoups de leur farouche rivalité.
12 Jan 2011
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2:37
”Deux de la vague” ist die Geschichte einer Freundschaft. Einer Freundschaft, die in so vielem die Geschichte des franzöischen Kinos und die Geburt der Nouvelle Vague verköpert. Jean-Luc Godard wurde 1930 geboren; Francois Truffaut zwei Jahre später. Die Liebe zum Film bringt die beiden zusammen als sie für das selbe Filmmagazin schreiben In den 1960ern unterstüzten sich die beiden gegenseitig wo immer es nur geht, begründen die Nouvelle Vague. 1968 kommt es dann zum Bruch aufgrund unterschiedlicher politischer und geschichtlicher Ansichten. Sie finden nie wieder zusammen ... Ein Dokumentarfilm von Emmanuel Laurent. Ab 28. April 2011 in Deutschland im Kino.
28 Apr 2011
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9:35
This charming and simple film stars Leslie Caron as Lili, a sad and lonely orphan who hooks up with a traveling carnival and falls in love with a womanizing magician (Jean-Pierre Aumont) and a crippled, embittered puppeteer (Mel Ferrer). The film could have easily been cloying but director Charles Walters moves the slight tale briskly and Caron never lets her character sink into bathos. But it is Bronislau Kaper‘s lilting score that keeps things humming along. Kaper said his score for LILI was special because he got to write both the score, including ballet music, and all the songs. Plus, he liked the opportunity to compose music in which the dances had to be filmed to the music.With only one song and a couple of dance numbers, LILI is hardly a conventional musical and M-G-M had no great expectations for the film. As Kaper remembered it, “When it was completed and before I scored it, the film was considered unreleasable by many people at the studio.” Oddly enough, the usually acerbic Page Cook wrote, “Kaper’s music lavishes the whole with a depth of poetry that not merely enhances…but inhabits it. The film’s elements of what is real and what is not real, and what are being more important than what we are judged to be, is given sublime realization in Kaper’s shimmering comprehension of Lili and the puppets. Thanks to Caron’s endearing performance and Kaper’s delightful music, a classic was born. In 1961, LILI became the first film ever to be adapted into a Broadway musical. The stage version, called CARNIVAL, featured music and lyrics by Bob Merrill, and starred Anna Maria Alberghetti, James Mitchell as the magician, and Jerry Orbach as the puppeteer. ”As immodest as this may sound, my score became the life of the movie”, said Bronislau Kaper and he was absolutely right.
13 Jun 2012
2078
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