Sunday, June 28, 2009

Bonjour Jean

by Ryland Walker Knight


I.


—colored adoration


II.


—contrast solitude


III.

—burning, bled


IV.



—turning, tournage

3 comments:

  1. One of my absolute favorite movies, and those images encapsulate why as well as any: the brilliant use of color versus b&w, the manipulation of framing and the relationships between characters. I love the tension between the bright, cheery surface of the film and all the tangled emotions boiling underneath. It's Preminger's masterpiece.

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  2. I'm still discovering Preminger, admittedly late, and I must say that this one sure is a doozy. I may have more to say later, after it's been pushed around by some others I've got queued up, such as Daisy Kenyon, arriving tomorrow.

    If anything, it's a world away from the pretty silly mania of Bunny Lake, which was still really entertaining, and has a terrific finale with at least one super duper jump scare.

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  3. Daisy Kenyon is interesting to see Preminger working in a different mode than usual, to see how his cool, controlled approach adapts to the form of the "woman's picture." Not top-notch Preminger, but worth seeing for sure.

    A lot of people love Bunny Lake, but I'm with you: silly, entertaining, some good moments.

    In my opinion, though, the best Premingers, other than Bonjour Tristesse, are Anatomy of a Murder, Advise & Consent, and most of his early noirs (esp. Fallen Angel and the obvious Laura). I also have a special soft spot for some of his flawed but fascinating works like Saint Joan (Seberg's critically savaged debut, which reconstitutes the famous story as a light, ironical satire) and The Cardinal (which cycles through a checklist of Catholic "moral values" in its examination of faith, politics and humanism).

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