After starting his own film club in 1948, Truffaut met André Bazin, who would have great effect on his professional and personal life. Bazin was a critic and the head of another film society at the time. He became a personal friend of Truffaut’s and helped him out of various financial and criminal situations during his formative years.
Truffaut joined the French Army in 1950, aged 18, but spent the next two years trying to escape. Truffaut was arrested for attempting to desert the army. Bazin used his various political contacts to get Truffaut released and set him up with a job at his newly formed film magazine Cahiers du cinéma. Over the next few years, Truffaut became a critic (and later editor) at Cahiers, where he became notorious for his brutal, unforgiving reviews. He was called “The Gravedigger of French Cinema” and was the only French critic not invited to the Cannes Film Festival in 1958. He supported Bazin in the development of one of the most influential theories of cinema itself, the auteur theory.
In 1954, Truffaut wrote an article called “Une Certaine Tendance du Cinéma Français” (“A Certain Trend of French Cinema”), in which he attacked the current state of French films, lambasting certain screenwriters and producers. The article resulted in a storm of controversy. Truffaut later devised the auteur theory, which stated that the director was the “author” of his work; that great directors such as Renoir or Hitchcock have distinct styles and themes that permeate all of their films. Although his theory was not widely accepted then, it gained some support in the 1960s from American critic Andrew Sarris. In 1967, Truffaut published his book-length interview of Hitchcock, Hitchcock/Truffaut (New York: Simon and Schuster).
After having been a critic, Truffaut decided to make films of his own. He started out with the short film Une Visite in 1955 and followed that up with Les Mistons in 1957. After seeing Orson Welles’ Touch of Evil at the Expo 58, he was inspired to make his feature film debut in 1959 with Les Quatre Cents Coups (The 400 Blows).
Jane Eyre is a well-received 1996 film interpretation of Charlotte Brontë”s 1847 novel of the same name. This Hollywood version, although similar to the original novel, compresses and changes some bits near the end.
‘Twister’ is one of your classic thriller films, though not one where you fear a knife-wielding serial killer, but one where you fear Mother Nature herself. The only other blockbuster natural disaster movie is ‘The Day After Tomorrow’, where we can obviously tell its underlying motive was to teach us about the dangers of global warming. Twister has no other motive apart from keeping you on the edge of your seat.
Watch Twister in Entertainment | View More Free Videos Online at Veoh.com Have you ever considered chasing tornadoes as a hobby? Yeah, me neither. However, you can watch a story about people who do. The film is based on two teams: the good guys (in it for the progression of science) and the bad guys (in it for the money). The competition? Being the first to have their tornado analysing device sucked into violent tornado. The method? Tracking the path of the tornado and putting the device right in front of it. Pros? Science research. Cons? You may get sucked into said tornado. This is essentially the whole film…though running alongside it (for the girls at your film night) is, of course, a love story. Here’s a brief rundown: Bill (Bill Paxton) and Jo (Helen Hunt) are soon to be divorced. Bill and Jo met and fell in love whilst chasing tornados, but their love went stale, he became a TV weatherman as she continued to storm chase, so, they sought a divorce. He is now engaged to Melissa, who does not enjoy chasing tornados, and Jo is single and refusing to sign the divorce papers. As Bill and Melissa approach Jo about the divorce papers, Jo and her team discover a tornado has touched down nearby – which can only mean one thing, the divorce papers can wait. But, Bill can’t resist his former love of storm chasing and goes to join the team…for the rest of the film. You can watch how it prevails! Bill Paxton and Helen Hunt are great in their respective roles, you really get (I’m really sorry about the pun) sucked in by their performances. Though the CGI isn’t amazing – it was released in 1996 – the acting and the story does make up for it. The climatic tornado is pretty impressive at the end given the age of the film, and who knows, you might even find yourself thinking that tornado chasing might be quite fun to participate in…but at the same time, you will never Google ‘Tornado chasing holidays’. This film will make you feel like a daredevil, but at the same time, deep down…terrified that natural disasters can happen at any time and you can’t do anything to stop them.
Project Grizzly is a 1996 National Film Board of Canada documentary about the lifelong project of Troy Hurtubise, a man who has been obsessed with researching the Canadian grizzly bear up close, ever since surviving an early encounter with such a bear.
Microcosmos, or “Microcosmos: The grass people” is a documentary by Claude Nuridsany and Marie Pérennou. The executive producer was Jacques Perrin. This visually striking film is a detailed observation of insect activity set to the music of Bruno Coulais. The film was included as an entry at the 1996 Cannes Film Festival.
Primo and Secondo are two brothers who have emigrated from Italy to open an Italian restaurant in America. Primo is the irascible and gifted chef, brilliant in his culinary genius, but determined not to squander his talent on making the routine dishes that customers expect. Secondo is the smooth front-man, trying to keep the restaurant financially afloat, despite few patrons other than a poor artist who pays with his paintings. The owner of the nearby Pascal’s restaurant, enormously successful (despite its mediocre fare), offers a solution – he will call his friend, a big-time jazz musician, to play a special benefit at their restaurant. Primo begins to prepare his masterpiece, a feast of a lifetime, for the brothers’ big night… Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>